| Author | Message | ||
  Linda |
Steps to Create a Painting: 1. Idea A) I talk about this idea with anyone who'll listen, if possible, and get feedback as to the reaction it may create [because the reaction is what I'm really after]. B) I know when the idea feels right enough to make a major effort for. 2. Drawing A) value sketch - it really works! plus, I'm usually taking a small image and making it a large one. Only when I'm journaling or "sketching" with watercolor do I eliminate this step. For all the work I put into my masterpieces, a value sketch is worth the time, and, I get two works-one in graphite and one in color! The value sketch goes by pretty fast, considering all the time I take to create. B) If you have reservations about your drawing skills, take a photo and then value sketch it. That's how I learned I COULD draw, given enough time [and a paper that will withstand my many erasures]. Drawing to me is simply an exercise in recording shapes, and learning to gradate midtones. C) Some do a perspective sketch to properly lay all the vanishing points, and get technical things correct. Some do a color sketch to experiment with colors. I do neither, I do one value sketch that is exactly, or nearly exactly what I want. I do color swatches, like fabric swatches, for my color ideas. I research the different color harmonies (triadic, complementary, whatever) at the same time as my swatches. I use my imagination a great deal at this point. 3. Setup At this point I am about to begin the masterpiece. Also at this point I usually end up with a dream regarding it, and following the dream's advice has really improved my work. A) Colors decided and posted, those such as skin-tone mixes already mixed and ready for application (with a little alcohol added for no mold, and a tight fitting lid). I hang the swatch in front of me at all times, and sometimes do deviate slightly from it. B) Value sketch handy for glancing at as a reminder of how dark this or that should be. C) My special word or words that I keep repeating as I work to remind myself the reaction intended ("Healing," or "Absolutely Divine" etc.). D) Arrange studio in just the way it must be, colors, palette, tools, and make a conscious note of all in its place so I can locate things quickly. Before every painting session I will arrange everything each time to make sure it conforms to this initial layout, and it's also a sort of meditation ritual that gets me in the mood to begin. E) All is decided upon and ready, then I meditate one last time to listen if there's a message I need to hear from Source. This I also do before each session, and sometimes I will even call upon some great master to assist me if I need help with a certain technique, after I clean my aura and call only the highest energies interested in the upliftment of mankind. F) I light my favorite candle (don't know why I do this) and may or may not put on the music that will uplift my actions (study tape of Bach, or Mozart's perfection, Rachmaninov's passion, Scottish or Italian jigs for movement, Itzak Perlman for individual perfection/passion, Schubert for holiness/darlingness, my own recorded practice sessions for utter individuality, etc.). 4. Execution A) Transfer to final paper. B) With each stroke I make sure I sit "with hara," an oriental technique of mind-body connection posture, and I send out my chi with every movement, breathing controlled at the moment of execution. C) If I fatally mess up, I call it a study, learn from it and may or may not complete it, and begin again. This is the point where passion is needed to continue the intention. I have it! 5. Break A) Always view work from a distance, and while viewing, make mental notes on what should be achieved next, remembering the word or phrase used in 3C. B) Take a walk C) Take a day off or so if needed to regain original intent. D) If needed, I will research when I feel stuck. This step alone has given me huge strides in improvement. When I feel stuck, I know a monster improvement is headed my way, soon to reveal itself. This is a very exciting step!!! 6. Finish A) I finish the painting in action before the painting is actually finished. I leave the last few steps for a later time. This is when the painting seems to speak to me. It has always taken on some life of its own, and I listen to what it wants at this time. Strange step, but I don't think I've ever overworked a painting either. Some say this is the toughest step. Not for me. I listen. This is also the time I title the work -- I listen and over a period of time it tells me the correct title. Listening to it is probably the greatest step I take, the most fun, the most releasing, the most enjoyable. Yes, I listen to my paintings! | ||
Cathy |
Lex, I have always used cold press rough until about 2 months ago, usually windsor newton 300lb or arches 140lb. What I like about the Bristol is that I CAN'T overwork it... otherwise I tend to mess with a painting forever. When I lift off color on the Bristol it is usually for highlights. ;-} Cathy | ||
Lex |
Cathy, you must have a much more delicate touch than I. When I tried watercolor on some of the bristol board I used for calligraphy the stuff just fell apart. But I tend to use lots of water and rework paintings with fairly rough brushstrokes. I understand the effect you're talking about tho'; a block of cold press Canson Montval gives an effect similar to most hot press papers. Now that I've been working more with Arches rough and cold press I'll probably stick with those - the papers lend themselves well to the even or smoothly graduated washes that eluded me with other papers. And the stuff really stands up to the rough treatment I subject my poor paintings to. | ||
Cathy |
Thanks again, Jean. I am hoping to run into Carrie and Kukana one of these days. | ||
Geeky2 |
Well, Cathy, you have good company out there with Kukana and Carrie. Maybe someday...By the way, I love your work. Jean | ||
Cathy |
Geeky2 Jean, I am in Utah... quite a distance. Who knows maybe someday Cjas will come up with a way we can paint together over the internet. :-) Or maybe we can all become rich and famous artists and all go to Italy for a trip and paint our hearts out. | ||
Geeky2 |
Cathy: I agree, it would be fun for us to be able to paint together. We are all so scattered. I'm in Virginia, but from TX. What part of the country are you in? I should do more planning as you are doing. I think I might actually get something presentable if I would plan more. I get half way there and change directions. You could do that in oils as I once did, but not too smart in watercolors. haha. Jean | ||
Cathy |
Trust a Jean to spell Jeanne's name correctly. :-} That is a great book. I am not good at explaining the steps I took to produce my painting... did I answer your question? One more thing... I do a lot of thinking before I put the paint to the paper, I try to have darks and lights and a pattern that brings the eye around the painting to the focal point. Sometimes I do a rough sketch and shade in values. But not always. I also spend some time just stepping back to just 'look' during the process of a painting. I wish we could all get together and paint, wouldn't that be fun? | ||
Geeky2 |
Thanks, Cathy. I also like Jeanne Dobie's colors and have her book, and the Jan Kunz book. If I'm trying something detailed, I use tracing paper and transfer it using water soluable crayons or light graphite to my paper. I've bought some of the illustration boards but have never tried them. I have not gotten to the point where I really have a routine, and probably am trying too many things. I have just learned that I do like painting outdoors, and sketching from nature, so I'm trying to do more of that. (More when it cools off here!) Thanks, and good luck. Jean | ||
Cathy |
Jean, I usually draw my subject directly on the watercolor paper, but recently I checked out from the library Jan Kunz's book on portraits and she draws the subject on paper, then traces it, and then uses a transfer paper and transfer it to the watercolor paper. I did this and really liked it, because when drawing people I don't always get something right the first time and this gets rid of all the erasing and pencil lines on my watercolor paper. Also I have the original drawing ready to go again if I want to paint it another time. I actually don't use watercolor paper, but use Bristol plate because I like the way I can lift color off if I need to. I have a lot more control over the painting but still can achieve a watercolor effect. The color palette I have evolved to is from reading "Making Color Sing" by Jean... I can't remember... starts with a "D", I am sure you know who... Dobie... is that it? As for the painting, I do a light wash of skin tone, and then layer the washes for shadows etc. I can't tell you the colors I used right now, I am at work, but if you're interested I can tell you later when I can look at my palette. I hope that is what you are looking for Jean, thanks for your comments, they are very valuable. | ||
geeky2 |
Gad! typing in the dark again! That is supposed to be "feeling my way along" Jean | ||
Geeky2 |
To Cathy about your portrait: Cathy, it is beautiful, and I would love to know more about the steps you took to get it done. I am working on some of my granddaughters, but just feeling my wat. years ago I had pastel portrais lessons, but a loonng time ago. Jean | ||
piper |
Lex, I am with you on the barely visible rough drawing with very diluted paint. Works best for me because I begin with out much of a plan. My paintings just kind of evolve on their own. Hadn't thought of just using dirty water. Now that is the ultimate in thrift! I also make sure I am not using a staining paint. I love the paradox.... The simplicity and yet high complexity of the painting. | ||
Geeky2 |
Re: For detail, transferring your drawings to your watercolor paper. I'd always just used pencil or watercolor pencil, but didn't really like them. Recently I tried using my Caron d'? water soluable crayons instead of pencil, scribbling on the back of the tracing paper, then using a stylus to trace parts of the drawing onto wc paper. I liked it. The lines are tiny, yet distinct and won't wash away as quickly as wc pencil does. Don Getz in his gesso tape, draws his subject directly onto his wc paper with these water soluable crayons. This is a little harder to get rid of, but you can use any color you like. Jean | ||
geeky2 |
Hi Lex, I won't tell,,,,your method makes sense to me too. I actually do more photography than paint, but the two do go together! Nice. Jean | ||
Lex |
Drat. One more try...  | ||
Lex |
Hope this works...  | ||
Lex |
Perhaps because I'm a photographer first and use watercolor as an escape, my approach is very loose (and occasionally downright sloppy). Tho' I'll sometimes sketch ideas into a sketchbook I rarely sketch as a foundation for a new watercolor. Besides the fact that I dislike the feel of a pencil in my hand, much preferring a brush, I just lack confidence in my sketching. Instead I lay out the shapes with barely visible color - sometimes just the dirty water from my rinse jar, or if I've applied a wash then the shapes will be in a very slightly darker shade. This approach gives me the freedom to alter the composition as I go along (handy if I make a mistake, which I often do) because I don't feel locked into coloring inside the lines or following a preset pattern that doesn't seem to be working out as well as I'd hoped. By substituting colors I can sometimes rescue a painting without starting over - and so what if the blue bottle is now dark green; it's my painting, right? ;) As a sort of self-test of this technique I recently applied it to what was to be a very detailed study (and I try always to avoid excessive detail) of a chunk of petrified wood. The background is a simple graduated yellow wash, which would also make up the reserves. I very roughly blocked out the shape in an almost imperceptibly darker shade of yellow. Masking fluid was applied to protect areas that were a light yellowish color in the original rock. From there I gradually built up rough shaped patches corresponding to the reddish, dark brownish, etc., areas on the actual rock. After finishing up the stratified layers with finer brushes, down to a #0 sable, I was very pleased with the final piece, which looks as tho' it could have started from a detailed drawing. Don't tell anyone else, okay? ;) | ||
dirtybird |
Anyone interested in watercolors and coming near Richmond Va, you would love The Virginia Watercolor Society Juried Exhibition at Virginia Commonwealth Univ. Anderson Gallery. *Juror: Katherine Chang Lui | ||
geekyjean |
susi: Hang in there! I've been doing demos from books and online and still feel like a beginner. Think how I feel going off to paint for a week with people who hang their watercolors in galleries! They are so nice, I know I will have fun. Fortunately, the art basics are similar in all types of painting and drawing, so my past efforts in oils and acrylics helps some in watercolors. | ||
Susi |
Jean, I can’t thank you enough. You pointed me absolutely in the right direction. I had no idea that I can find so much interesting sites on the internet. I searched for watercolor and found everything I asked for, including a watercolor demo explaining the creating of a water drop on a flower pedal. Was so exited. Thank you so much for your incredible fast response. Now I will take one step at the time and see where it leads me. I will also check the library for any watercolor demo video tapes and practice, practice, practice. Susi | ||
Geeky2 |
Susi: don't get depressed, although a lot of us are depressed, at times. haha. Art can be very trying, but also very satisfying. You are doing the correct thing by trying different ways to do things. If your library or someone has a beginner's book in watercolor or whatever medium you are trying, try some of the exercises in it. Also on the web you can find some demonstrations to try. It also helps to be just a little crazy. haha Jean | ||
Susi |
You begin to depress me. Please start up something more colorful. I am ‘brand new’ to WC but I know that I’m hooked already. I have read a couple of books on WC and find every one of them fascinating. All is so new to me. Even so I always found beauty in nature, I find myself looking at things different now. I constantly question myself in how I would accomplish painting this shadow, that beam of sunshine, the drop of water on a flower pedal. It’s driving me almost in sane especially since I don’t know how to do it (yet). I practice at least a bit of coloring to a couple of hours every night. I don’t know what kind of pictures I eventually will end up painting, but I intend to have a lot of fun in getting there. Any good advise in how to avoid heavy outlines? I like to wet the area I want to paint and then drop in the pigment or mix of pigments. I love the look of it but it creates a heavy outline. I discovered how to feather the outline and blend it in afterward but it changes the color in my painting, which I don’t like. I also have no idea in how to start to paint a large area of water. Any good advise? My current ‘attempt’ is totally messed up. I read about scrubbing off paint and starting all over. I will give it a try. | ||
Oma |
JeannieJoe, I don't know if I sent the message which I had already typed so just in case. Don't let your husband destroy your self-esteem!!! Remember your are a child of God and have your own talents and strenghts. His attitude is his problem so don't you let him dump it on you! Obviously your kids honor you which says a lot! I know whereof I speak, having spent 27 years with a husband who belittled anything nad everything I did and put me down to the point that I had lost all sense of self worth. I was afraid to leave for fear I couldn't support myself but finally got up enough courage to do so. So now, over thirty years later,I am still alive and kicking , love and like myself and am learning new things every day. I am not recommending your leaving if it is against your principles but am just telling you I have been where you are and you need to do something to help yourself. What you are experiencing is abuse just as much as physical beating is. Get help if you can't fight it alone! | ||
trish |
Jeannie Joe, I just wanted to share some of my "journey" into watercolor. I've dabbled in different things for years, never getting"good" at any of them (oils, ceramics, sewing, etc). I began trying to learn watercolor fairly recently and have taken some lessons and read a lot of books (I can relate to the writer who said she had read so much that she didn't have time to paint). There are so many different techniques and teachers out there that you can go from one thing to another without really accomplishing anything. I recently saw an advertisement for Terry Madden's Home Based Workshop (www.terrymadden.com), and decided to order it. I had bought a video of his some time ago, but had never painted the projects, although I love his style of painting (I feel like it's more "Me". I got the video out again, and along with his home workshop, am learning more and doing better work. I finally decided to concentrate on one style and one teacher for awhile until I feel comfortable with what I am doing, and can consider it good work. Keep it up, and I will also use that advice for myself. Good luck. Trish | ||
Geeky2 |
And,,,,you always have your paintin' buddies here at CJAS! Let us know how you are doing, and as jaever says, paint! Jean | ||
jaeyer |
Jeannie Jo Could not help but be touched by your story. But you are getting good advice from Patinsc and Geeky2. Obviously you have talent that allows you to translate it to images. Most artists that I know, that have been painting for years, are their own worst critics - but they enjoy painting. And if you enjoy it - yourself - then please continue and let that be one of those escape spots in your life. Your children are giving you good advice. One time when my daughter was about 5, I asked her how she liked a painting that I had just finished. She said, "I like it daddy, but why are the rocks squashed?" She was right. I am not a professional artist and do not rely on that for a living...thanks goodness. But for more that 30 years, off and on, painting has provided an outlet from frustrations at work, etc. for me. You might check your high school for an art teacher to help you get advice too, but keep at it if you enjoy it. Jerry | ||
Geeky2 |
Any beginners, get some of the cheaper paperback how-to books in whatever type of painting you wish to do. They are good to start with, and as someone said, many libraries have art books. I check art books from the library all the time. Even the inexpensive Walter Foster books give you a lot of beginner information and things to try. That is what I first used many years ago. Just start small with books and paints and a brush or two. Good luck!!! Jean | ||
Geeky2 |
Jeanne Jo, just paint for yourself. I had to learn the hard way, also, in that respect. Don't paint just for your loved ones, although I give my paintings to them. You will never please everyone, and some people would not tell you if they liked it. Carl Glassford, a pen and ink artist, says "If you need to perform for a crowd, put this book back on the rack and go practice the piano." You just have to do what is in your heart. God bless you, Jean | ||
Jeannie Jo |
Thank-you Patinsc and Geeky2. Thank-you for sharing. Know matter how old we are we still need the approval of our parents. If I ever get half as good as my mom I will say the same thing, this one is for you and are you proud of me. I have tears in my eyes as I type this and for Geeky2 I am so sorry that you had some memory lost. That must be fustrating for you. There is nothing like working with your hands in any kind of craft. I love crafts, quilting, knitting, you name it, but painting is new to me. My middle son is so good at painting and hes never painted in his life. He picked up a brush and painted a picture of me from a picture that was taken of me when I was 16. It was really so good. Two of my sons encourage me, but my husband, well I can't do anything good. I painted a lighthouse on a oar for him, but he said he didn't want it. My oldest son he would like it sight unseen. Sometimes when you are told over and over that what you so isn't good enough you being to believe it. A couple of years ago my middle son gave me some money for Christmas. I decided to take some painting lessons. I saw a piece in my local paper about a lady who taught painting so I went once a week 90 miles one way. She could paint, but not teach. She had to look in a book and ended up doing it for me instead of teaching me. The town I live in doesn't have much teaching in painting. Jeannie | ||
Geeky2 |
Jeannejo, yes you can do it. I am my worst critic, and struggle with every arty thing I do, but I am still trying. When I was much younger, I painted in oils, sold my piddly little paintings, took it for granted, etc, then in an accident, lost a lot of my memory, concentration, and had to relearn some things. Now it is much harder for me to even do the simple paintings. I KNOW things, book learning, etc., but I do have to really work at it. Believe me, I have teenage grandchildren, so don't let age or anything else stop you, if you have a desire to paint. I'm trying to learn watercolors, and it is slow going, but I think worth it. Good luck. Jean | ||
patinsc |
Jeannie Jo, Your post really touched my heart. My father loved to dabble in watercolor. He planned to really get into it when he retired. He retired in Jan. of 86 and the following Nov he died. I took care of my mother until she died of cancer 1 1/2 years after my Dad. One day going thru his things I came across his paint and books and papers as well as his sketches. I said to myself I must dosomething with these things and I began to read his books. I went to local art shows, joined a guild and began to paint. I later took some workshops and have been painting for about 11 years. The day I won my first award I came home and cried. Then I said "Daddy, I hope you are proud of me. This is for You." I'm sorry if this sounds sappy but my point is just do it. If it is not good its O,K. Do it again and again. One day you will be pleased with what you have done and so will your mother. | ||
Jeannie Jo |
Dazey thank-you for the reply. My mother is gone now. I only wished I had been interested in painting when she was alive. She and some other ladies wanted to something, but really didn't know what. They decided to hire someone to come to their homes and teach them how to paint. Mother learned all she could from him and moved on up. She was SO GOOD. She painted in oils. I like oils best, but I figure if I do watercolors if a mistake is made I can correct it better. To think my mom didn't even know she could paint and the pictures she turned out. One of my sons said you know your mom was about your age when she started. That made me think maybe I can do it. Thanks for your help. Jeannie | ||
Dazey |
I have only been painting a year, so consider me a tad presumptious in trying to give you advice. I have made a lot of progress this year, and the advice I would give you is PAINT. You will learn more by doing than any other way. Continue to read all you can, but the real way to really learn and progress is to DO IT. Work on your drawing, work on your observation skills, and just paint. More research, more materials never take the place of doing it. Read Art and Fear. | ||
Jeannie Jo |
I have just found this site and I am very new at painting. I have just printed the 6 pages on Creating a Painting. I will read it when I go to bed tonight. Can you give me any tips on starting painting? I did buy some how to books on different kinds of painting like water painting. I don't know how to paint a tree, water, so you know I need help. Hope you can help me. I would love to know how to paint. Thank-you | ||
jj |
One more method to add to the list that Jan Kunz taught me -- Make your own graphite transfer paper by taking any size sheet of tracing paper, and rubbing a 4b or 6b graphite stick all over it until you have good coverage. Then take a kleenex tissue, put a little lighter fluid on it -(cigarette lighter fluid - not charcoal...) and rub it over the graphite in a circular motion, liquifying the graphite! The end result looks like carbon paper, but with graphite. Wipe off the excess with a clean dry tissue and your done. This can be used over and over! Its cheaper to make and easier to use than the commercial brands. | ||
birdwatcher |
Karen: There is another completely different alternative that I frequently use. Tape your final drawing (tracing paper) on a sunny window, tape the watercolor paper over it, and simply trace the picture. Sometimes it works best if your final tracing paper drawing is done in ink, but dark pencil works too. This even works with 300 lb. watercolor paper and it eliminates graphite smears on your painting. You can use a light table too, if you have one. | ||
dirtybird |
This is for Karen who had problems erasing the image caused by the graphite paper. All the solutions proposed may work but are they worth giving up the convience of cheap, prepared tracing paper? If you decide it isn't the here are a few things you can try. Try another brand of tracing paper. They vary widely in the color and intensity of pigment. I tried several before I found one that I liked. Use a regular, cheap ballpoint pen to transfer the image. The kind with the larger point that actually rolls when you use it. And lastly the watercolor paper makes a difference. Some types are softer and holds onto the image if you press to hard. Practice on a scrap piece or the reverse side of the paper to get the pressure on the pen just right. | ||
SutureSelf |
Here's a variation of Kukana's trick: I draw with leads in a mechanical pencil. I sharpen the leads with a rotational sharpener. It doesn't take long for the sharpener reservoir to collect a nice amount of graphite dust. I sprinkle some of the graphite dust onto a piece of tracing paper. Then I spread it around with a crumpled paper towel. I wipe up all the excess with the towel and make an even layer of graphite. This is my graphite paper. Try it. It works great. Hope this helps. Jerry | ||
Kukana |
Karen, I throw away the graphite paper and try my trick. Get yourself a soft lead pencil, like a #6B or even an 8. Now get a piece of cheap computer/typing paper and start scribbling. Complelety cover the paper with the pencil. You may have to sharpen the pencil several times in the process. Whe the whole page is covered you have your own "graphite paper" that you can use to tranfer and can erase as easy as the pencil you used to make the paper with. It a variation of a trick Carrie Parks taught me! | ||
karen |
i've recently started using graphite transfer paper inbetween tracing paper and my watercolor paper. But i find i can't erase the graphite on my watercolor paper. If i trace too lightly i can't see any marks and if i trace to heavily, i can't get rid of the marks. What am i doing wrong? | ||
dirtybird |
Anonymous is right about the fragility of the transfer image but that is the main reason I started doing it this way. Those pencils marks that wouldn't erase drove me nuts. Also erasing would change the paint absorption character of the paper surface despite what the manufacturer said. Even rubbing over the surface while painting can remove parts of the transfer image. I actually do a lot of washes but I try to do most of them before I put the image on the watercolor paper. Usually the first painting I do after transfering the image is to block in the defining shapes and edges so if a few are lost it doesn't matter that much. ANd you can always go back and do another touchup you still have the original image. | ||
Anonymous |
As a thirty year professional, I would offer one little piece of advice to the technique discussed by Dirtybird. I use basically the same technique but in areas where I need to preserve the detail, especially where I intend to use liquid mask, I draw over the transfer lined on the watercolor paper with graphite pencil lines. When peeled off, the liquid mask can very easily pull off the lines left by the transfer paper if they are not reinforced. Very wet, agressive washes can also float the transfer lines off. By the way, another advantage to this technique is that your paper will have none of the scratch, scuff and eraser marks which may be left by drawing (and changing) directly onto the paper. Happy painting! | ||
Geeky2 |
Hi dirtybird, I agree, and I draw on tracing paper when I plan a painting. So often, mine are just potluck. I keep the drawings if I do the tracing paper thing, and have used parts over again. I should use it all of the time since I change my mind so much. I use light graphite or colored chalk to transfer the drawings. Jean | ||
dirtybird |
This is a technique I have evolved from trial and error and it works very well for me. I do all my drawings on tracing paper. First I attach a sturdy piece of cardboard of the same size as the watercolor paper that I intend to use to the tracing paper by the top edge. The cardboard is for support of the tracing paper. I do a drawing on tracing paper. The detail of the drawing depends on the project but mine are usully quite detailed. Often all of the details are not used. My image sources can be anything from grid tracings,projected images, photographs, direct tracing, no limit. After the drawing feels right and this may take a lot of erasing and redrawing and recomposing, only then will I slip a piece of watercolor paper and graphite transfer paper under the tracing paper and go over the finished image with a colored ballpoint pen leaving me a starting image on my watercolor paper. This drawing technique has gotten me further along in a few months than anything else in the five or so years I have been trying to do watercolors. This take a bit more time than I use to take for drawing but you can reuse all or part of the drawings multiple times!! | ||
CJM |
I'd like to find out how some of you paint in your backgrounds. I did a watercolor of a girl and wanted an ultramarine blue around her face and arm, but it was very difficult to keep the blue in line around her face, which was quite detailed. I didn't think I could do the background first because that would lock me in to a feature I couldn't change. At any rate, that painting has been done three times and needs another try. Maybe I should just use colored pencil for the background? It's the same thing with me and flowers or any other type of painting. Thanks. | ||
Anonymous |
Yes, you mask first, then soak and lay on your gatorboard and paint wet into wet. The only time you would mask afterward would be if you were stretching the paper and actually stapleing it down and taping it to the gatorboard which really isn't needed. If you are doing that, why spend the money on gator board.?? Just use wood. The beauty of gatorboard is that you don't need to stretch smaller peices. | ||
Anonymous |
When using Gatorboard, do we mask first then soak, or do we let it dry 12 hours like we did on plywood, before using the masking then wet the paper again? | ||
Geeky2-VA |
Ok, I've ridiculed myself enough about watercolor, trying to keep something going on the board. Somebody else think of a good topic, please. (grin) Jean | ||
Geeky2-VA |
Hi everyone, As for practicing, I should own part of CJAS for paper and paint! (grin) I do have a hard time getting the darks to look right, although I know I need them, and have studied values. I either go too dark at first, or not enough darks.(Holding my painting hand with other hand-forcing myself to put darks in!!) Geeky Jean | ||
Kukana |
Hey Chris, along with your comment on being "frightfully bold", I like what Frank Webb says...."I rather be decisively wrong, than timidly right!" | ||
crystal |
Hi, Since you all are chatting, maybe you can help me. New to watercolor. Just spilled CJ's liquid masking fluid on robe and jammies. Does it come out and how? Thanks, crystal | ||
apiper |
I agree about not being afraid to experiment. I have wasted acres of paper just playing. Well, not really wasted because I recently learned I can gesso the sheets and start again. I read in a Jan Kuntz book, and it works, to mix your darks from transparent paint only to avoid that heavy dense look. Try it Geeky Jean. Ginger | ||
chris |
Hi everyone, Just a note on this topic. So many artists I have painted with seem afraid to actually get some paint and excitement going on the paper ---is it fear? My mentor gave me a tip once and I posted it above my painting area. It says, "BE BOLD AND FRIGHTFULLY BRAVE" !!! My suggestion would be to do a small warm-up piece each day before you start the big stuff. Really put some rich color and dark values on the paper. When you start the next piece, remember those wonderful colors and USE them! Let watercolor help you paint, don't fight it, and just have fun!What's the worst that could happen - you never have to show it. Loosen up and enjoy. | ||
Geeky2-VA |
It occured to me, that I can do a demonstration art project pretty well, so maybe I should analyze the steps, and apply it to one of my own and see if that helps. I'm pretty impatient, and probably don't wait to dry paint often enough. The gazing ball project sounds like it worked well for you. I'm waiting for technology that will download images from my brain directly to my paper. (grin) Jean | ||
Geeky2-VA |
Hi Everyone: Thanks for answering and explaining your thought process. I'm sure different paintings are done differently, but it helps to see how we think them through. Nothing is right or wrong. I also need to practice more with sketching and values, because that is the part that I'll avoid if I possibly can! While waiting for my Masa paper shipment to arrive, I crumpled a sheet of cheaper tablet watercolor paper, wet it, stained it, glued it to another paper, leaving some white areas--but not enough--then stained more. I liked the effect in the background, but need to work more on the color and values. I tend to go too dark with colors at first. Usually I stick to more standard use of watercolors, but finishing and getting the correct darks in, is a problem I have. Jean | ||
apiper |
One day it suddenly occurred to me that I wanted to do a gazing ball. My creative sub conscious must have been working because I could already see a ball nestled below woodsy folliage. Rather than sketch the subject I make a map of my darkest darks, study it for harmony and rhythm. If it pleases me I kind of circle around the areas which will be the lights, balancing the two. I generally just brush color loosely on any old piece of paper I have on hand for this. The middle values take care of themselves. Usually the subject of the painting is in my head, but of something I have seen sometime during my life. Sometimes I have to go to the source, like if I am doing a certain flower I might have to go look in detail at the flower. I guess my way is hard to explain. ok, I just did a gazing ball. First I mapped the darks and lights, then with Pale yellow drew in the ball, and roughly circled the dark areas. because the soil was going to be a challange for me I did it first, covering one clump of foreground foliage and anything that was not going to be dirt with squished pieces of toilet paper. I did tape the paper around the ball shape. Wet washes, salt and spatters finally gave my soil the woodsy look I wanted. I used a lot of warm browns and touches of reds and orange in the bark as a counterpoint to the greens I knew would be dominate the top. Next I put foliage darks in above and around the top of the ball, painting around the light foliage. I used some blues and purplish reds in the dark greens and shadowed areas, again as a compliment to what would be coming. Last came the ball. I had intended to make the ball in the blue tones, but the painting asserted itelf told me it wanted a bronzy gold ball. (My best paintings are always the bossy ones.) Next I but in some large rocks in pale grays in a pattern that that followed my lights map. Then I tackled the ball. I undercoated with cad yellow med., then mixed mossy looking greens. (Adding cad red light to the greens gave that kind of glowing color I was after.) I swirled the foliage, rocks and dirt reflections in the ball, trying to visualize how they would look in a real ball, and leaving a clear light area for the sky. Between times , while the yellows in the ball were drying I went in and fussed a bit with the folliage, making the lights a very pale yellow. Finally it looked done, but did not feel right. I took it to my non painting neighbor for evaluation. She immediately reminded me that all gazing balls were on some sort of holder. So back at it. The ball was pretty close to the fore ground, so I wet a small area below and blotted out the soil in the shape of a small concrete disk for the ball to set on. When it was good and dry I used cobalt blue to make the pale gray that tiecd right in with my rock colors. Again I studied the picture, turning it upside down and taking off my glasses helped me see the dark light composition. I added the dark trunk of a tree in the upper right corner then studied it again. This time I felt satisfied with the composition, rhythm and colors. I had good lights and darks, warms and cools worked well together and the balls reflections do look real. The painting turned out very well. Sometimes they don't. I probably have 5 hours into it, because I ponder a lot between brush strokes. | ||
roger marz |
I start with a sketch drawn on the watercolor paper from my sketch book or a photo. I don't use any transfer methods (grid projector etc.) because I want to get more practise drawing. I generally lay in the sky first in landscapes,and then go light to dark saving the whites by painting around them. I haven't had much luck(skill?) in using masking fluid though it has worked for me a couple of times. I am a beginner too started in January 2000, but I am addicted. | ||
Geeky2-VA |
Anyone interested in a discussion about procedures? What are the steps you take in creating a painting? An idea, then value sketch, a color sketch, lights or darks first, do you mark your lights any particular way? I normally just do a sketch, transfer to paper, paint around lights, (if landscape-some sky wash). My problem, as with most beginners, at least I think, is that I get the basics down, then when I try to finish or go further, I ruin it. The only things that seem to come out ok for me, are the directly painted florals, using stronger colors at the beginning. My landscapes look as if a child did them! I am beginning to think I will always be a beginner in watercolor. I have a pile of no-goods. Anyone share any ideas? I read the books, practice, but seem to still do the same thing. Frustration. Jean |
