 |  |  |  |  |  |  |
 |
January 2, 2010
Out of Your Comfort Zone
Around the start of this new year and new decade I began thinking about trying
something different. At the same time I have been reading a book of aphorisms
called The Art of Worldly Wisdom, originally written in 17th century Spain but
amazingly pertinent to current time. Out of the many maxims, one I remembered
was vaguely about studying something that is popular even though you might not
have an inclination toward it. Since many people like it, maybe only lack of
knowledge or fear keeps you from trying it.
I also recently pulled out some photos of koi and wanted to paint them. In synch
with the maxim, the subject was popular so I might like it. But it was new to me, so
would stretch my creativity.
To get started I designed a pattern based on my photographs. Next I wet the
paper and dropped in dark ultramarine blue, alizarin crimson, and burnt sienna.
The middle steps involved scraping out fish shapes with a large brush, but leaving
the biggest central fish to last, so that it would have harder edges. Then while the
paint was still wet, I painted the koi with raw sienna, burnt sienna, and the crimson.
Lastly, I swirled the brush over the top of the painting to suggest ripples in the
water. My first attempt was not successful (the water dried too light), so I did it
again the next day using thicker paint, and the result is at right.
I now have a new respect for the difficulty of painting koi, but found that I enjoyed
the process, especially swirling with the brush!
Recommended for 2010: escape from your comfort zone and try painting a new
subject, paint an old subject in a new way, or try a new medium.
KC
Out of Your Comfort Zone
Around the start of this new year and new decade I began thinking about trying
something different. At the same time I have been reading a book of aphorisms
called The Art of Worldly Wisdom, originally written in 17th century Spain but
amazingly pertinent to current time. Out of the many maxims, one I remembered
was vaguely about studying something that is popular even though you might not
have an inclination toward it. Since many people like it, maybe only lack of
knowledge or fear keeps you from trying it.
I also recently pulled out some photos of koi and wanted to paint them. In synch
with the maxim, the subject was popular so I might like it. But it was new to me, so
would stretch my creativity.
To get started I designed a pattern based on my photographs. Next I wet the
paper and dropped in dark ultramarine blue, alizarin crimson, and burnt sienna.
The middle steps involved scraping out fish shapes with a large brush, but leaving
the biggest central fish to last, so that it would have harder edges. Then while the
paint was still wet, I painted the koi with raw sienna, burnt sienna, and the crimson.
Lastly, I swirled the brush over the top of the painting to suggest ripples in the
water. My first attempt was not successful (the water dried too light), so I did it
again the next day using thicker paint, and the result is at right.
I now have a new respect for the difficulty of painting koi, but found that I enjoyed
the process, especially swirling with the brush!
Recommended for 2010: escape from your comfort zone and try painting a new
subject, paint an old subject in a new way, or try a new medium.
KC
January 19, 2010
It's About the Sky
While planning a class session about painting the sky, I tried out a couple
of compositions and then started thinking about them. It is supposed to be
the other way around, but sometimes the thinking comes later, especially if
one is tired.
I wanted to get in some reflections in water after viewing a beautiful sunrise
over Lake Washington, but realized that I was trying to force too much into
the painting. This lesson was supposed to be about the sky. Anytime a
realist or impressionist painter decides on a subject, then the paper needs
to either devote a majority of space to that subject or make it the focus in
some other way.
Looking at the two paintings at right, in the upper one ("Linear
Succession", watercolor, 11x15)) I feel my eye bouncing back and forth
between the white sky at the horizon and the reflections in the lake. In the
lower painting ("Infrastructure", oil on board, 11x14) it's all about the sky.
While the ocular bounce is not necessarily a bad thing (I like reflections!), I
feel the lower painting has more power by being more understated.
KC
It's About the Sky
While planning a class session about painting the sky, I tried out a couple
of compositions and then started thinking about them. It is supposed to be
the other way around, but sometimes the thinking comes later, especially if
one is tired.
I wanted to get in some reflections in water after viewing a beautiful sunrise
over Lake Washington, but realized that I was trying to force too much into
the painting. This lesson was supposed to be about the sky. Anytime a
realist or impressionist painter decides on a subject, then the paper needs
to either devote a majority of space to that subject or make it the focus in
some other way.
Looking at the two paintings at right, in the upper one ("Linear
Succession", watercolor, 11x15)) I feel my eye bouncing back and forth
between the white sky at the horizon and the reflections in the lake. In the
lower painting ("Infrastructure", oil on board, 11x14) it's all about the sky.
While the ocular bounce is not necessarily a bad thing (I like reflections!), I
feel the lower painting has more power by being more understated.
KC
Feb 3, 2010
Perserverance and Gradation
I was once told that I was very persistent. But while I suspect that particular
speaker did not see it that way, perserverance can be a positive trait. Without a
little of it we would all just give up at the slightest set-back. So in the spirit of
persistence, here I am one month later still painting koi!
The decision to teach a class on the subject led me to go looking for photos of the
beautiful Japanese carp. During a Google search I came across the phrase "cult
of the koi." which led me to look further. Apparently in mythology the carp swim
against the current to reach a waterfall where they leap into the mist and transform
into water dragons. Based on this, the koi thus represent perserverance in
adversity, determination to overcome obstacles, and the ability to attain high goals.
Wow, that all sounded good! But I think that the beauty of the fish, their curving,
swirling shapes, and knock-out colors must also figure into their appeal.
The watercolor at right ("Koi 8, 11x15), is one of my favorites so far because of the
gradation in the value of the water. The idea of varying the tone of the background
pond has now persisted and I am up to "Koi 11," each of the latter paintings
featuring a variable tone. The variation from darker to lighter (and cool to warm)
is more abrupt on the upper area, but nice and smooth on the left middle side of
the watercolor. So my next goal is to smooth out my gradations .
KC
FYI--the consensus appears to be that most readers of the last blog liked the
upper painting better. Thank you to all who responded--I love to hear what people
think!
Perserverance and Gradation
I was once told that I was very persistent. But while I suspect that particular
speaker did not see it that way, perserverance can be a positive trait. Without a
little of it we would all just give up at the slightest set-back. So in the spirit of
persistence, here I am one month later still painting koi!
The decision to teach a class on the subject led me to go looking for photos of the
beautiful Japanese carp. During a Google search I came across the phrase "cult
of the koi." which led me to look further. Apparently in mythology the carp swim
against the current to reach a waterfall where they leap into the mist and transform
into water dragons. Based on this, the koi thus represent perserverance in
adversity, determination to overcome obstacles, and the ability to attain high goals.
Wow, that all sounded good! But I think that the beauty of the fish, their curving,
swirling shapes, and knock-out colors must also figure into their appeal.
The watercolor at right ("Koi 8, 11x15), is one of my favorites so far because of the
gradation in the value of the water. The idea of varying the tone of the background
pond has now persisted and I am up to "Koi 11," each of the latter paintings
featuring a variable tone. The variation from darker to lighter (and cool to warm)
is more abrupt on the upper area, but nice and smooth on the left middle side of
the watercolor. So my next goal is to smooth out my gradations .
KC
FYI--the consensus appears to be that most readers of the last blog liked the
upper painting better. Thank you to all who responded--I love to hear what people
think!
February 12, 2010
Fade It Out
It must be almost Valentine's day because I am painting a very RED
watercolor. Store ads and displays probably had some subconscious
effect, but in general this hue is a favorite. In fact, if forced to choose a
best-loved color, alizarin crimson might just come out on top.
While on the subject of favorites, I began thinking about my top pick for a
watercolor aphorism. It didn't take long to come up with the following: "If in
doubt, fade it out."
I don't remember where I first heard or read this maxim, but it has become
part of my teaching, because it works for so many situations in painting.
The floral watercolor on the right (Limited Edition, 15x11) benefits from
fading in order to soften edges, to give the impression of curvature in the
petals, and to provide a hazy organic looking background.
Fading really is another word for gradation, the subject of my last blog.
But the point I am trying to make is that the painter might fade out a color
when coming to a section of the painting where it is not clear what to do
next. For example this might happen in the foreground of a landscape in
which there is a fairly busy center of interest, so a simple gradated wash
would provide a quieter area. Fading or gradation also works in small
areas and serves to smoothly connect sections of a painting, allowing the
eye to roam freely around the composition.
Finally, I just like saying it, probably because it rhymes!!
KC
Fade It Out
It must be almost Valentine's day because I am painting a very RED
watercolor. Store ads and displays probably had some subconscious
effect, but in general this hue is a favorite. In fact, if forced to choose a
best-loved color, alizarin crimson might just come out on top.
While on the subject of favorites, I began thinking about my top pick for a
watercolor aphorism. It didn't take long to come up with the following: "If in
doubt, fade it out."
I don't remember where I first heard or read this maxim, but it has become
part of my teaching, because it works for so many situations in painting.
The floral watercolor on the right (Limited Edition, 15x11) benefits from
fading in order to soften edges, to give the impression of curvature in the
petals, and to provide a hazy organic looking background.
Fading really is another word for gradation, the subject of my last blog.
But the point I am trying to make is that the painter might fade out a color
when coming to a section of the painting where it is not clear what to do
next. For example this might happen in the foreground of a landscape in
which there is a fairly busy center of interest, so a simple gradated wash
would provide a quieter area. Fading or gradation also works in small
areas and serves to smoothly connect sections of a painting, allowing the
eye to roam freely around the composition.
Finally, I just like saying it, probably because it rhymes!!
KC
February 23, 2010
Incidents Around the Edges
This week I am painting florals in anticipation of teaching a class. As with every
painting I am concerned with composition and value. But with a floral, the
composition may not be prominent, and my value pattern would simply
showcase the white daisies in a dark field.
So I started thinking about why I like the daises in the watercolor (Play It Again,
11x15) at right. My answer: the interesting shapes with "incidents around the
edges," an idea originating with the painter Tony Couch.
Owning one of Tony's books on watercolor, I pick it up from time to time and
always find some new nugget that I had previously missed. But this phrase
has stuck in my mind and comes in handy when painting a number of different
genres such as florals, city buildings, landscapes, etc.
The point is that a straight line is not very exciting. To make a shape
interesting the artist needs to add little nubbins or "incidents" sticking out here
and there. These small changes in the direction of the line are what catch the
viewers eye. I try to avoid the perfectly smooth flower petal, roof line, or green
lawn. Suggestion: vary the petals on a daisy even if the flower was more
regular; place a chimney on a roof even if it was not there in life; or add
weeds or shrubs onto that flat expanse of grass.
I owe a lot to Tony Couch's teaching through his books. Being an airline pilot
prior to starting his painting career, he has what I call a no-nonsense
approach, ie his advice is always practical and helpful.
KC
Incidents Around the Edges
This week I am painting florals in anticipation of teaching a class. As with every
painting I am concerned with composition and value. But with a floral, the
composition may not be prominent, and my value pattern would simply
showcase the white daisies in a dark field.
So I started thinking about why I like the daises in the watercolor (Play It Again,
11x15) at right. My answer: the interesting shapes with "incidents around the
edges," an idea originating with the painter Tony Couch.
Owning one of Tony's books on watercolor, I pick it up from time to time and
always find some new nugget that I had previously missed. But this phrase
has stuck in my mind and comes in handy when painting a number of different
genres such as florals, city buildings, landscapes, etc.
The point is that a straight line is not very exciting. To make a shape
interesting the artist needs to add little nubbins or "incidents" sticking out here
and there. These small changes in the direction of the line are what catch the
viewers eye. I try to avoid the perfectly smooth flower petal, roof line, or green
lawn. Suggestion: vary the petals on a daisy even if the flower was more
regular; place a chimney on a roof even if it was not there in life; or add
weeds or shrubs onto that flat expanse of grass.
I owe a lot to Tony Couch's teaching through his books. Being an airline pilot
prior to starting his painting career, he has what I call a no-nonsense
approach, ie his advice is always practical and helpful.
KC
March 7, 2010
Sixty Minutes or Less
When one of my students painted an especially beautiful and fresh looking
watercolor the other day, I commented that it looked like she had finished it
quickly. She replied that in fact she had hurried, because there were only
minutes of class time left until we put up our work.
That started me thinking about how often we painters hear "how long did it
take you to do that?" While sometimes the question may be merely an entry
for the person to discuss the piece, I think it more often represents the widely
held belief that the more time you spend painting, the better the result.
Perhaps this holds for some oil paintings or detailed illustrations, but for
watercolors, the opposite is true.
Often I have finished a piece, but couldn't stop myself from going on, because
if a little is good, then more must be better. Or I might think that it shouldn't be
that easy---it must take more than one brush stroke to complete the work. Or I
might be having so much fun painting that I did not want to stop. But whatever
the reasoning, the final result was the same: the freshness was gone.
I had previously written an article on just this subject for Watercolor Artist
magazine, published in the August, 2008, issue. The editors entitled the article
"Speedy Delivery" and placed it in their Creativity Workshop section. To
summarize, I had recommended that watercolor painters take as long as
needed to plan composition, value pattern,and colors, but limit their time on
actual brushwork to one hour. But in fact, I think an hour is too long.
The painting at right (Boost in the Ratings, 11x15) was done in much less than
an hour because I managed to follow my own advice here. Someone once
said that it takes two people to paint a picture, one to do the brushwork and
the other to stop the artist!
KC
Sixty Minutes or Less
When one of my students painted an especially beautiful and fresh looking
watercolor the other day, I commented that it looked like she had finished it
quickly. She replied that in fact she had hurried, because there were only
minutes of class time left until we put up our work.
That started me thinking about how often we painters hear "how long did it
take you to do that?" While sometimes the question may be merely an entry
for the person to discuss the piece, I think it more often represents the widely
held belief that the more time you spend painting, the better the result.
Perhaps this holds for some oil paintings or detailed illustrations, but for
watercolors, the opposite is true.
Often I have finished a piece, but couldn't stop myself from going on, because
if a little is good, then more must be better. Or I might think that it shouldn't be
that easy---it must take more than one brush stroke to complete the work. Or I
might be having so much fun painting that I did not want to stop. But whatever
the reasoning, the final result was the same: the freshness was gone.
I had previously written an article on just this subject for Watercolor Artist
magazine, published in the August, 2008, issue. The editors entitled the article
"Speedy Delivery" and placed it in their Creativity Workshop section. To
summarize, I had recommended that watercolor painters take as long as
needed to plan composition, value pattern,and colors, but limit their time on
actual brushwork to one hour. But in fact, I think an hour is too long.
The painting at right (Boost in the Ratings, 11x15) was done in much less than
an hour because I managed to follow my own advice here. Someone once
said that it takes two people to paint a picture, one to do the brushwork and
the other to stop the artist!
KC
