Five of the Six paintings are finished and here they are! It's been so amazing being able to paint every day, so much to learn and practise...... I'm hooked! The paintings are now at Mountain Galleries, Whistler.
Postcard thumbnailsRead More
Four designs plus one favourite - makes 5 Holiday cards for special people - on sale now for $20 a bundle!
It's the perfect venue - the Sea to Sky Art Wall, Summit Lodge at the Sea to Sky Gondola in Squamish.Read More
"My workshop is studying the effects of light, the colour of shadows in a landscape. I think it is something that a lot of people struggle with and it's something I am still working on myself,"Read More
This is a demo for our last painting in Watercolour evenings, Winter 2012. I've applied frisket (masking fluid/ rubber cement) as a way of adding texture and protecting the water running between the rocks and over the fallen logs. I don't use masking fluid very often, but when I do I like to apply it using the same descriptive brushwork I use to paint positive shapes.
Another nice things about using masking fluid is that you can create some interesting textures by rubbing some of it away, creating holes and tears in the rubbery surface. If you do this a few times, letting the paint dry completely before rubbing more frisket away, you can build up several layers of texture giving a richness to the finished piece.
Please note: rubber cement can be extremely harsh on your brushes! Choose a well used brush and condition it first by massaging a little diluted dish soap into it. Leave a thin coat of the soap on the brush when you dip it into the frisket. Then use it with abandon - paint the frisket on with the tip of the brush, drag it along with the side of the brush, flick and spatter to your hearts content!Have fun and see you on Monday November 19th for the last session to finish this painting.
"Following the Sound" is a series of watercolours inspired by Sea to Sky Country and particularly around my home in Squamish, British Columbia. I've compiled these paintings, most of which are now in private collections, in a self published book. As I continue my 'Sound' adventure I'm getting ready to focus on a new series of URBAN landscapes in early 2013.
For my Watercolour evening class in Squamish, here is the original painting "Base of Shannon Falls" and a work in progress of the lesson we worked on tonight. See you next week!
"Along the Mamquam" watercolour 9"x13" is a painting we're doing in Watercolour evenings Squamish and West Van.
We're using a limited palette of Quinachridone Gold, Paynes Grey, Alizarin Crimson with an accent of Ultramiarine Blue and Cadmium Red (or Scarlet Lake).
Instructions will follow, but this is for students who want a reference as they continue to work on it at home - feel free to download and print out the design and colour reference.
Lesson #4 - Tonal Value
Lesson #4 focuses on the 3rd element of design Tonal Value and how it relates to watercolour:
Tonal value refers to the lightness or darkness of a colour as if the colour (or hue) and its intensity (chroma) were taken out. If you make a black and white photocopy of a painting, you can see it in terms of its tonalscale - notice the boundary lines between tones and where you find the greatest contrast. Similar adjacent tones create soft edges and transitions, whereas extreme darks and extreme lights create hard edges with dramatic impact.
Tonal value has even more visual power than colour. By varying the contrasting tonal values in a painting we create a sense of structure (form), depth and distance (aerial perspective) and a balance of abstract patterns and shapes.
Have a look at these samples:
- Light area
- Division line (between light and dark)
- Dark area
- Low light
- Dark shadow accent
- Cast shadow
Newbies Painting Exercise #4
In this painting exercise we practised:
1. Choosing a limited palette - Paynes Grey, Hookers Green, Alizarin Crimson with Ultramarine blue and Lemon yellow as accents.
2. Painting wet-in-wet for the sky and distant misty mountains. We learned to control the blending of wet paint by dragging a damp brush across the wet paint. This wipes off some of the pigment leaving a soft edged transition (more or less where you want it!)
3. Laying in progressively darker areas from background to foreground, blending by adding water for a soft, smooth gradation.
4. Defining overlapping shapes of foreground bushes and painting the trees in behind them for an illusion of depth and distance (aerial perspective)
5. Using ultramarine blue as an accent colour for the foreground snowy shadows.
6. Spattering in a fine spray of white gouache with a toothbrush around the foreground trees for a light, airy snow effect.
And here is the design so you can try it out on your own!
One more note about contrast and a taste for colour:
Example 1. shows mid tones for the mid and background trees with a contrasting intense dark tone for the foreground trees.
Example 2. shows mid tones for the mid and background trees with a contrasting intense chroma or saturation of colour for the foreground trees.