tag:blogger.com,1999:blog-39676200944946845242024-03-13T06:55:16.422-07:00Seamless ExpressionLess Separation, More IntegrationStephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.comBlogger134125tag:blogger.com,1999:blog-3967620094494684524.post-3748593315570025702015-05-17T16:46:00.002-07:002015-05-17T16:46:40.650-07:002 new posts up on my new blogHi all,<br />I've made two new posts up on my new blog over the last few weeks- "The Hawk" and "Light-filled Shadows". If you haven't do so already, please migrate over, subscribe, and take a look around! :)<br />
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This will probably be the last time I'll update this blog, unless something special comes up. Thanks so much for participating here. It's been a blast. I hope to see all of you over at the new site.<br />
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<a href="http://www.seamlessexpression.com/">www.seamlessexpression.com</a><br />
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SteveStephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com1tag:blogger.com,1999:blog-3967620094494684524.post-43517053005531932482015-04-25T16:56:00.000-07:002015-04-25T16:56:06.734-07:00New paiting up on my new blogHi all,<br />
I've got a new painting up at <a href="http://www.seamlessexpression.com/blog/2015/4/20/napa-river-flats">http://www.seamlessexpression.com/blog/2015/4/20/napa-river-flats</a><br />
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It's from out at the Napa River Flats, from a few months ago. Come on over and take a peak. If you want to get notices, subscribing is very easy and straight forward. I'll be cross posting links like this for the next few posts, and then I'll be posting all content only on the new website.<br />
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Thanks for visiting!<br />
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SteveStephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-50816848083904084502015-04-20T08:29:00.003-07:002015-04-20T08:29:44.277-07:00I have a new website! <div class="separator" style="clear: both; text-align: center;">
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Hi everyone. Exciting news! I have been working on a new website and it is now live. This blog, and all the old posts, have been ported to it, and I will be making all my new posts at that new address. You'll be able to find me at-<br />
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<a href="http://www.seamlessexpression.com/">www.seamlessexpression.com</a><br />
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Please come and subscribe to this new blog! :) Go to the homepage, and navigate to the blog. From there, it's very easy to fill in your email address and get a simple email notice sent to you each time I update the blog.<br />
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The new site includes a bio, gallery of images, contact page, and a links page. The gallery includes info on each image, as well as price, for those interested in buying. The links page will be getting developed more over time, but it currently includes a list of active links to various watercolorists I greatly admire, as well as some info on my materials and setup (with appropriate links to buy some of it). <br />
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Over the next month, I will be cross posting links here each time I post at the new blog, for your convenience, but in time this site will be abandoned, and all new content will only be available at the new website. <br />
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Thanks everyone for your reading support. I look forward to seeing you at the new website! :)Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com1tag:blogger.com,1999:blog-3967620094494684524.post-78985367695418860432015-04-04T10:57:00.002-07:002015-04-04T10:57:38.560-07:00Flower Studies and what notI've been busy doing lots and lots of studies for a lake painting this past week-- I'm trying to get some control of various wet into wet techniques. Before that it was various paintings of a snowy mountain using Raw Umber. Before that it was various paintings building on the older Mare Island series. So, lots of work, but not quite stuff ready to show. I'll be sharing all that when I hammer out some 1/2 sheets I'm satisfied with.<br />
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In the mean time, I've also been doing some smaller 1/8 sheet studies of flowers. I can see that I'd like to blow these up and get more wet into wet.<br />
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This first one is freesia-<br />
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This second one is from our plum blossoms-<br />
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Beyond that, what's a painter do when he's got 40 minutes to spare and wants to practice? Use the back of bad paintings to practice straight lines I guess. ;P I did a set of lines, then attempted to do a second set of straight lines inbetween each of them. I then attempted to connect the tips of two specific lines (like telephone wires) over and over, using various ones. One wants a consistent width too, so I tried different brushes with different volumes of paint, using different levels of pressure. This is tougher than it looks! I still wasn't particularly satisfied. Clearly work to be done. <br />
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uNothing like screwing up a nice painting because you can't make a simple straight line.<br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-35637898236455798302015-03-29T10:14:00.000-07:002015-03-29T10:14:34.401-07:00Evolution of an Image- Barcelona Corridor<div class="separator" style="clear: both; text-align: center;">
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I'd been doing a lot of nature scenes lately, so I decided to get back to some geometry and try painting this scene from Barcelona! :) Who can't love those bold shadows? I like sharing the original pic when I can, because I think it shows how the composition has had to go through some sort of alchemy in my mind, before it comes out a "painting." I'm definitely not aiming for a literal translation-- otherwise, I'd just keep the pic! I'm pushing to capture that mood (and have fun while doing it...).<br />
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I went through 2 preliminary paintings on 1/4 sheet (11 x 15). Here's the first pencil sketch--<br />
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I drop my first wash in, and spit a little on it for texture. The truth is that most of this will get covered later-- I'm just figuring out what my lightest lights will be, putting in a background color, preserving whites. It's almost like I'm leaving notes for myself for the next few stages.<br />
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Start to lay in darker bits, and carve out some light. <br />
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This is the end of the first sketch. The truth is that the archway was much lighter on this on my first go, but I then did my second iteration, which had much darker shadows. I liked the "pop" it provided, so I went back into this one and darkened my darks. The image notably improved. That process of learning something on a second try and then doing a little touch up on an earlier version is something that happens now and then. <br />
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This is the 2nd painting- also on a quarter sheet. Done the same day. The darks were much darker from the get go, which was good. I also put more variety into the shadows, and let them blend more into a block. <br />
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This is the end of the 2nd painting. I had to go back in with some white on the lamp, as I lost my whites. It was better, but a bit too "graphic" for me with the shadows. I wanted more delineation of the form. <br />
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This is the final piece, which I did a few weeks later. This one is on a 1/2 sheet. (22 x 15). I made the figure bigger and more chromatic, and later on, I added the lamp hanging from the arch in the foreground (there was an object hanging in the pic, but it wasn't a lamp), to help pull your eye around into different locations (figure up to lamp, down the slanting shadow, back up the shadow on the wall to the figure along the line of the street). As the painting grew in size, it also began to call for a bit more detail in the central area. So, I added the motorcyle and the wires, a bit more on the church window, etc. That sort of stuff. I lost a bit of the lights in the foreground that I would have liked, but all in all, I'm pretty happy with it. It's very Barcelona! :)<br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com3tag:blogger.com,1999:blog-3967620094494684524.post-48325781801674278822015-03-22T10:53:00.001-07:002015-03-22T10:53:23.393-07:00Evolution of an Image- A Mug with Marbles<div class="separator" style="clear: both; text-align: center;">
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I posted some preliminary paintings of this composition last Fall, but I knew early on I wanted to do more with it, and stretch the image to show something both very tight and glass-like, and yet also something loose and explosive.<br />
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The first go was on an 1/8 sheet. Too small, really, to do the glass much justice.<br />
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The mug was much bigger on the second one, but it was still on a 1/8 sheet.<br />
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The third one was a similar composition, but on a 1/4 sheet.<br />
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By then, I felt like I had a handle on how to paint it, and so, around the new year, I expanded it a 1/2 sheet.<br />
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I wanted to get the paint to sort of explode, which I got, but, after the fact, I recognized that I was a bit more interested in seeing the "mug" dissolve, not the whole painting. So, on the next iteration, I spent more time planning out the sequence of layers.<br />
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I wanted to keep the horizon line solid, to keep a sense of a ground
plane, separate from the mug itself. I also did a great deal more work
with a smaller synthetic brush, instead of the squirrel mops,
particularly on the glass. The dissolving marbles I did last, in one go. <br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com2tag:blogger.com,1999:blog-3967620094494684524.post-3750853091086159502015-03-07T08:35:00.002-08:002015-03-07T08:35:30.149-08:00Using Raw Umber, pt. 3- More Experiments (and some successes!)After the last flurry of experiments, I decided that using Raw Umber was fascinating, but that it was always very richly chromatic, and therefore was only really useful for things in the foreground. So I decided to about making some experiment with Chinese White and Lunar Black, with varying success. I'll go into those below.<br />
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First, the Da Vinci tube of Raw Umber came in. Eagerly I opened it up and give it a shot. Sadly, no love. :( It must be manufactured in some slightly different way. Who knows? Either way, it disperses when applied wet into wet, and just wouldn't give me those rivulets I wanted. Dang! Only the top left of these 4 is with Winsor Newton's Raw Umber, and thus shows some of the rivulets I want.. The others were with Da Vinci. So, I now have a tube I guess I'll give away to a painter friend.<br />
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Then I got a tube of Winsor Newton Burnt Umber. In a nutshell? Same issue. What the heck?!? Now I've got a second tube of paint that I don't really plan on using. :( Only the two samples on the far right (top and bottom) showed the rivulets, and they were done with Winsor Newton Raw Umber. So, my final analysis on that point is this-- if you want to do this affect, you basically have to use Winsor Newton Raw Umber (and maybe some of those PrismaTek pigments from Daniel Smith? I'm not sure about, as I haven't tried them and don't have the dough for it.)<br />
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However, I did have some success experimenting with Chinese White and Lunar Black. I premixed a bit of these with Raw Umber, to tone the value and hue down a bit. This worked pretty well. In this first pic, the version on top of the Dioxazine Purple is pure Raw Umber. You can see how much darker and browner is it. The others were mixed with the Chinese White. Still, I'm getting those rivulets and yet the value different. Yay!<br />
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In these next two, I began to explore another new technique. I put the first wash down, lay the Raw Umber/ Chinese White mix on top of it, ran the water through to carve out the rivulets, and then used the rivulets to "funnel" a new color through the painting. In these examples, it was either diluted Cerulean Blue or a very watery Chinese White, as I was going for a beach-y feel. Some really interesting results! <br />
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In this one, I mixed Lunar Black with the Raw Umber down at the bottom, to pull the corner into the foreground. I can see using three different mixes to get some real variety in tone and value.<br />
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I then took some of these results, and applied it a bit to a quick sketch of one of the mountain images I've been working on. Not perfect, but some success!<br />
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I used the Raw Umber/ Chinese White mixture for the mountains to knock them back some, and then applied a pale blue-grey wash over the top of them, for the cast shadows. All in all, success-- although I discovered that the Chinese White rewets very easily, and mixes with whatever you put on top pretty readily. Hmmmmm.... Probably going to need one more round of experiments to get the full tool set under my belt. Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com2tag:blogger.com,1999:blog-3967620094494684524.post-16001130373224186772015-02-28T07:14:00.000-08:002015-02-28T07:14:26.044-08:00Using Raw Umber to acheive rivulets and granulation, pt. 2- My Experiments!So, I bought a big 37 ml tube of Raw Umber for this technique, and
that has been invaluable, as I'm no longer stingy about squeezing it out
of the tube (which you can't be, if you want the technique to work).
I've not used Da Vinci's yet (got a tube on order), but their 37ml tube
is only 7$ or so on Amazon. An amazing price, if the product works as
well as the Winsor Newton I bought.<br />
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The basic principle is that you apply the first wash of color as a sort "transit agent" for the Raw Umber. It helps the Raw Umber move and disperse, and the two colors interact in various ways, pullin the Raw Umber around the color circle visually. So, into the first wash you very thickly dab the Raw Umber, almost straight from the tube (opened up with water just a tiny bit). Then, as you tilt the paper, you either gently spritz the page or you daub water into it with you brush. The water pushes through, and you get these fantastically interesting affects. Susan Murphy goes over it all in the video I shared in the last post, and I talk about it (and show some in progress pics) <a href="http://seamlessexpression.blogspot.com/2014/10/my-bjorn-bernstrom-watercolor-workshop_10.html" target="_blank">from this post on Bjorn Bernstrom's methods</a>.<br />
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Below I used Burnt
Sienna/Napthol Red on the left and, if I remember correctly, Cerulean
Blue on the right. Cerulean Blue clearly pulled the Raw Umber into
green.<br />
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I
applied a wet wash of Cad Yellow here on the left, and Dioxazine Purple
on the right. There was a throw away image on the page originally, and
you can see how the red of it (dry when I started) showed through
nicely. I really liked this effect, and think there's interesting
possibilities to explore, where you could lay certain colors down first,
then let them show through later.<br />
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Here
I actually pre-mixed the Raw Umber with Neutral Tint very gently, then
applied it as such in certain sections. This darkens and greys out the Raw Umber, but
still allows it to granulate and make rivulets.<br />
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This was a wet wash of Magenta (PR122). It was a beautiful combo, but I couldn't think of anything to do with it...?? <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLgGXUa2nn2uYBg0HCPo97oPleQF0a-NYrLmSgXGKn7H5tBhv6aIpuf__wh-bTFKcuD_2TI9tQZIQjIps-_mqfXO0GAndTUnZj2Ak4EBkwuWtHjvAgNPcxjj5YRAuApqDIlkS2rSN5KzI/s1600/IMG_4189.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLgGXUa2nn2uYBg0HCPo97oPleQF0a-NYrLmSgXGKn7H5tBhv6aIpuf__wh-bTFKcuD_2TI9tQZIQjIps-_mqfXO0GAndTUnZj2Ak4EBkwuWtHjvAgNPcxjj5YRAuApqDIlkS2rSN5KzI/s1600/IMG_4189.JPG" height="550" width="400" /></a></div>
<br />
<br />
This
was mixing Viridian and Yellow Cad for the base wash, then applying the
super-thick Raw Umber as before, with the other samples, wet into wet. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRN64AXGbRwTAMVQeV7q7mbizpkCbKWJwXIirqv5geDDIRFEWh5vxs9Fi5vXENKlonhU6jCKv9sWlqLuYlLyy-mrFNKJ2qVdCclDmmq1qtttMFi8Rug_C26J0dHrYTUFwm-kSicWeiv8/s1600/IMG_4190.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRN64AXGbRwTAMVQeV7q7mbizpkCbKWJwXIirqv5geDDIRFEWh5vxs9Fi5vXENKlonhU6jCKv9sWlqLuYlLyy-mrFNKJ2qVdCclDmmq1qtttMFi8Rug_C26J0dHrYTUFwm-kSicWeiv8/s1600/IMG_4190.JPG" height="550" width="400" /></a></div>
<br />
What
was fun was that I then found images in these, and pulled them out,
just playing around- adding some Chinese White, or putting in darker
shadows, etc. Below are the samples. Nothing earth shattering, all in
all, but a lot of fun, and a good way to spend an afternoon using up the
backs of "mistake" paintings.<br />
<br />
I
darkened some of the shadows, put the ripples in the water, and lay
some very fine lines of Cad Yellow in there as highlights on the green.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiut_yByQhiXiymfFVqWPsAQng0Sx8ozCXUYaZiZyPKE0VwhXl7aQULKwOsWM78ZZfiAEpW0MGGHiUqbadzOYTmdUez_byFBAvgfnWeT7IAw_Zdz_pmbl-dgVzHnXRYHLQW5qQ9SGK9pA/s1600/IMG_4193.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiut_yByQhiXiymfFVqWPsAQng0Sx8ozCXUYaZiZyPKE0VwhXl7aQULKwOsWM78ZZfiAEpW0MGGHiUqbadzOYTmdUez_byFBAvgfnWeT7IAw_Zdz_pmbl-dgVzHnXRYHLQW5qQ9SGK9pA/s1600/IMG_4193.JPG" height="640" width="480" /></a></div>
<br />
<br />
I was playing with the idea of a mountain. A very rough version of an earlier snowy painting I did. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw6Cimacu4ZxdNihGg31CZiVDEKIT3mMWl3_Qasf3pVBC4WxKIBphuAus43hNiaPglctw_np9Infb8sbhA3M_6Uz5Q7XDWNzkmp1B7vdgwBublTiL1gVUEaWwLiFXN-CQZm1hU-PkUA8/s1600/IMG_4194.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw6Cimacu4ZxdNihGg31CZiVDEKIT3mMWl3_Qasf3pVBC4WxKIBphuAus43hNiaPglctw_np9Infb8sbhA3M_6Uz5Q7XDWNzkmp1B7vdgwBublTiL1gVUEaWwLiFXN-CQZm1hU-PkUA8/s1600/IMG_4194.JPG" height="640" width="480" /></a></div>
<br />
<br />
Here, I was also playing with the idea of distant mountains- also from a different painting I did back in October. <br />
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<br />
<br />
After that, I thought, "Sweet, I've got it." And so had a go at the mountain scene. Nope. Too dang dark!!!<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhok_4gWI5Px0HgKT1wQCC-NXaenltX3RSThU23EHh_otyno_BXmiGK-jcxJduwEsKRjb5tjWhSNUJjfLed-8336ekWsn1EEuxYPhHQGsKFGz55Ty8ZkYOJK6LWS-pR5IeG_2GPIpEp8cY/s1600/IMG_4486.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhok_4gWI5Px0HgKT1wQCC-NXaenltX3RSThU23EHh_otyno_BXmiGK-jcxJduwEsKRjb5tjWhSNUJjfLed-8336ekWsn1EEuxYPhHQGsKFGz55Ty8ZkYOJK6LWS-pR5IeG_2GPIpEp8cY/s1600/IMG_4486.JPG" height="400" width="550" /></a></div>
<br />
<b>The major things I learned are that-</b><br />
<br />
1)
Raw Umber makes everything a rich, dark valued brown. It's hard to
paint a distant object using this technique, because the color is just
too dark in value and too high in chroma right from the beginning.<br />
2)
It works well in the foreground (much like Bjorn's images up top), or
as a backround/ textural effect in images that lack heavy depth (like
the Susan Murphy example).<br />
3) How you apply the water, after
you've laid down the Raw Umber, affects the way the final effect looks.
Take your brush in and dab the water/watery pigment in, and you'll get
heavy "rivers" for your rivulets, as the point of entry for the water is
in fewer locations. Spritz the water on, and you'll more likely get
tiny little rivulets like on a windshield. The look is relatively
different.<br />
4) The visual "oomph" of the rivulets goes away pretty quick when you begin to glaze on top of it with shadows, etc.<br />
5)
I need to find some sort of greyer, lighter valued, opaque pigment to
combine with it to stretch the values I'll have available to me when I
use the technique. I can already make it darker by mixing the Raw Umber
with Neutral Tint or Lunar Black. Now I need something paler. Then I
think I could really use it in a greater variety of compositions.<br />
<br />
In the next post, I share some more experiments and successes. I did a lot of testers using Chinese White and Lunar Black, to varying levels of success, and also tried glazing Chinese White over things to push them back. I'll share them in the next post.Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com3tag:blogger.com,1999:blog-3967620094494684524.post-6432298177970471922015-02-13T18:17:00.002-08:002015-02-13T18:17:47.355-08:00Using Raw Umber to achieve rivulets and granulation, pt. 1- Bjorn Bernstrom and Susan MurphyLast summer, as I went over in three earlier blog posts (<a href="http://seamlessexpression.blogspot.com/2014/10/my-bjorn-bernstrom-watercolor-workshop.html" target="_blank">pt. 1</a>, <a href="http://seamlessexpression.blogspot.com/2014/10/my-bjorn-bernstrom-watercolor-workshop_10.html" target="_blank">pt. 2</a>, and <a href="http://seamlessexpression.blogspot.com/2014/10/my-bjorn-bernstrom-watercolor-workshop_17.html" target="_blank">pt. 3</a>), I took a class with Bjorn Bernstrom. Amongst many techniques he employs, he uses Raw Umber to get these wonderful passages in his work, full of rivulets and granulation--<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5VBtgUn75sGPZ-9GJT_xQT9r_iotxx8UQ-Waihkl_3uFHLr5uZ6G0XZiQo3eXgpoNkaOXghmh4Q2QpfgJ_8UYbmW0M-EtCEMpErNdBsUwGZrv8rg7b9WahiK-aDffvEOWdt3rOq9Wb0/s1600/Bjorn+watercolor+sample+websize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5VBtgUn75sGPZ-9GJT_xQT9r_iotxx8UQ-Waihkl_3uFHLr5uZ6G0XZiQo3eXgpoNkaOXghmh4Q2QpfgJ_8UYbmW0M-EtCEMpErNdBsUwGZrv8rg7b9WahiK-aDffvEOWdt3rOq9Wb0/s1600/Bjorn+watercolor+sample+websize.jpg" height="300" width="400" /></a></div>
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<br />
I began to experiment with this technique, only to discover that (gasp! surprise!) it's not as easy as it seems. Yes... yes, I know. Anyways.... :P<br />
<br />
Fortunately, the internet came to the rescue, and I discovered another person who uses a similar technique. For those who are interested, you should check out Susan Murphy. <a href="http://www.arthouseart.com/" target="_blank">Here's a link to her website</a>. Susan Murphy seems to have had a long career as a painter doing many different things, but she currently uses Raw Umber to similar effect, and then uses a stencil brush to pull back out highlights.<br />
<br />
It's pretty interesting stuff. This video is available online, so I thought I'd share it. It's of a workshop of hers, and explains a lot of what I also do when I apply Raw Umber myself. She actually has more than one video up, so its worth exploring her site. She has generously provided them free to stream, and there's lots to learn for those who are interested.<br />
<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/fJTUK3E4Gr8?feature=player_embedded' frameborder='0'></iframe></div>
<br />
Having seen that, I've been experimenting, failing, and learning a lot. Of course, this is the technique I used in the owl paintings (<a href="http://seamlessexpression.blogspot.com/2014/12/mystic-owl-series.html" target="_blank">here's a link to the post</a>) I shared back in November/ December of last year, but I've been playing with other applications too. Here's an example of my production using the technique in a localized fashion (on the wing)-<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jZX76RPC9FWp5zKfxtICpiQ2nENH65o3hGz6z0doeKzReyUWLuwQl18bMly2dpAkS7cCQ4SPoQc-idooCTN8WzbFt2Q_POa61klJmMBfR4Ok5LuK1DCtcVERCjooZIc_iJmDiKxytsM/s1600/Mystic+Owl+websize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jZX76RPC9FWp5zKfxtICpiQ2nENH65o3hGz6z0doeKzReyUWLuwQl18bMly2dpAkS7cCQ4SPoQc-idooCTN8WzbFt2Q_POa61klJmMBfR4Ok5LuK1DCtcVERCjooZIc_iJmDiKxytsM/s1600/Mystic+Owl+websize.jpg" height="298" width="400" /></a></div>
<br />
<br />
In the next post, I'll be sharing examples of what happens when you combine Raw Umber with different colors, either with a different background wash (into which you apply the Raw Umber as "Butter" into the Wet wash, or by actually gently mixing a different color into the Raw Umber, and then applying them as one. <br />
<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-37396453041949251262015-02-06T17:27:00.000-08:002015-02-13T18:14:33.421-08:00Exploring artists and techniques from the 2nd Biennial International Watercolor Show, pt. 4- Cheng Chen-wen and Herman van HoogdalemAfter my series of posts on the watercolor show, (links here--<a href="http://seamlessexpression.blogspot.com/2014/12/exploring-artists-and-techniques-from.html" target="_blank"> pt.1</a>, <a href="http://seamlessexpression.blogspot.com/2014/12/exploring-artists-and-techniques-from_26.html" target="_blank">pt. 2</a>, <a href="http://seamlessexpression.blogspot.com/2015/01/exploring-atists-and-techniques-from.html" target="_blank">pt. 3</a>) ) I was posting some of my unshared photos on wetcanvas, and someone else was able to identify one of the (famous) watercolor artists whose name I couldn't find. Cheng Chen-wen (or Chen Wen Cheng, depending on how you approach it). I also had a series of close ups on Herman van Hoogdalen's work, and so wanted to show them both, now that I could identify them.<br />
<u><b><br /></b></u>
<u><b>Cheng Chen-Wen- </b></u><br />
<a href="https://www.facebook.com/chenwen.cheng.33" target="_blank">Here's a link to his Facebook page. </a> Lots more great paintings there.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw7D-1aapd5H59uBc-Q859gtektzU793Kpp66wmpCajtMsGWSWsfditL6x83DiCBMPfXWn4SroWpSRivW0ueyQ5Otd1gJTTjyGadMmdc-0Y_Gov07oGHh6mnLBmkArLt2kcajVK5dCYjE/s1600/IMG_3692.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw7D-1aapd5H59uBc-Q859gtektzU793Kpp66wmpCajtMsGWSWsfditL6x83DiCBMPfXWn4SroWpSRivW0ueyQ5Otd1gJTTjyGadMmdc-0Y_Gov07oGHh6mnLBmkArLt2kcajVK5dCYjE/s1600/IMG_3692.JPG" height="300" width="400" /></a></div>
<br />
I feel like a dunce, but I didn't take a pic of this artist's name, and
for the life of me I couldn't remember it. Thanks to that wetcanvas poster who shared it with me!! Cheng Chen-Wen's quite famous, so I really ought to have known. This one was also very big (bigger than a
standard full sheet, again), perhaps 4' x 4' or more. I was obviously
drawn to these large pieces, as they were so impressive, but there were
also quite small pieces as well.<br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivGP43k0pJuNhWr1XB74MWS26agLSpWX0RTBUd5M_I62zx72u-8jdK7hpqaIESZfAA-1WVB4h-TK7fL1GcYd70gVcVrbCUWXel2NfR649jJMXdauFFok7N2HKKLCERrZVj56lQHNAKug0/s1600/IMG_3694.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivGP43k0pJuNhWr1XB74MWS26agLSpWX0RTBUd5M_I62zx72u-8jdK7hpqaIESZfAA-1WVB4h-TK7fL1GcYd70gVcVrbCUWXel2NfR649jJMXdauFFok7N2HKKLCERrZVj56lQHNAKug0/s1600/IMG_3694.JPG" height="300" width="400" /></a></div>
Here's a closeup of the eye. The literature said he was using some sort
of traditional brush with tines (sort of like a comb??) for some of the
work. You can see it here, when you get in close. Of course, this area around the eye was still something like 8" square, so quite big. He's obviously
building value with it. He did the same thing for some of the very fine
hair curling at the back of her head, which you can see in the second pic
(pardon the reflections!)<br />
<br />
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<br />
Then, just to show the astounding detail he accomplished, below is a
small 6" x 6" closeup of her collar!! Crazy! Is it done just with some rough, textural brushwork? or some sort of very detailed stippling?? Considering the detail in the rest of the piece, I'm assuming it's some sort of stippling or minute work, but I'm not sure.<br />
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<br />
I really liked this
piece, but would never want to paint like this. It's not me, but I can
appreciate his skill. Wow!!!<br />
<br />
<br />
<u><b>Herman van Hoogdalen-</b></u><br />
<br />
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<br />
This person had only a single painting in the show, and it was actually a
reprint of an original. Not sure why. This painting was HUGE.
Perhaps 6 or 7' tall and 4' wide. They actually hung it like a poster.
From the text I read next to the painting, it was reprinted at the
original size. Wow! It is supposedly part of a series of paintings he
did of people suffering from dementia. While that subject made it
difficult to view for some, I found it fascinating and emotionally
revealing. I also thought his technique was stellar.<br />
<br />
If you got in close, you could see that the brush work was loose and
full of life, but totally legible and very accurate when you stood back.
Much like looking at a Monet. <br />
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<br />
This section of the eye might have been
1' x 1' or so, to give you a sense. <br />
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Thanks for stopping by again. For me, lesson learned- see art live and in the flesh. Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-71061662877668993332015-01-30T06:38:00.001-08:002015-01-30T06:38:54.258-08:00My Alvaro Castagnet Workshop Review, pt. 5- The Co-Conspirators!This post is part of a series I did last year, but I've recently got back in touch with a number of people that I took this workshop with last Spring, and I wanted to share some of their info with others. Many of them have participated in the recent 3/5 watercolor challenge on Facebook, so there's lots of beautiful work floating around that's worth exploring.<br />
<br />
Here are links to the older posts in the series--<br />
<a href="http://www.seamlessexpression.blogspot.com/2014/05/alvaro-castagnet-watercolor-workshop.html" target="_blank">My Alvaro Castagnet Workshop Review, pt. 1</a><br />
<a href="http://www.seamlessexpression.blogspot.com/2014/05/alvaro-castagnet-watercolor-workshop_20.html" target="_blank">My Alvaro Castagnet Workshop Review, pt. 2</a><br />
<a href="http://www.seamlessexpression.blogspot.com/2014/05/alvaro-castagnet-watercolor-workshop_23.html" target="_blank">My Alvaro Castagnet Workshop Review, pt. 3</a><br />
<a href="http://www.seamlessexpression.blogspot.com/2014/05/my-alvaro-castagnet-workshop-review-pt.html" target="_blank">My Alvaro Castagnet Workshop Review, pt. 4</a><br />
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There was a lot of pleasure in meeting so many other great artists at the workshop!! Alvaro attracts a great crowd. Painting can often be such a private affair that one forgets the pleasure of actually sharing that creative experience. We all learned from each other's critiques, which was helpful for everyone of course, but even beyond that it was invigorating to meet so many other artists, with different backgrounds and experiences, all of whom took the practice seriously enough to come to the workshop.<br />
<br />
There were locals (from San Jose, San Francisco, Oakland, and San Rafael), but people also came from really very far away- Tokyo, Bermuda, North Carolina, etc. It was a privilege to paint with so many other experienced painters! It was very invigorating. We are all there because we loved to paint, and were willing to spend the time and money to try and improve ourselves. That's an interesting community to be part of!<br />
<br />
So, without further ado, I just wanted to share some links to the sites of those whom I met (and knew well enough to get their website info). My apologies for anyone I missed! There were over 30 people in the two sessions, combined, and I just didn't really get a chance to meet everyone. If you read this post, went to the workshop, and want to have your info included, please contact me or make a comment.<br />
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<img alt="Uma Kelkar" class="profilePic img" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-xaf1/v/t1.0-1/p160x160/10386741_10153281334152345_4898506369968370456_n.jpg?oh=a96ca02d55befae8c7279291359f9550&oe=5558CF2D&__gda__=1431855542_3651fae849c0654957916221644139da" /><br />
<b>Uma Kelkar</b>- <a href="http://www.umakelkar.com/" target="_blank">www.umakelkar.com</a><br />
Uma is really a very good artist in her own right, and was easily one of the more advanced students in the first workshop. Lives in San Jose. She really took to Alvaro's instruction, and was producing wonderful work by the end of the workshop. I really wish she had stayed for the full 6 days! :( Her website shows her ink work as well as her watercolors. <br />
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<img alt="Keene Wilson" class="profilePic img" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-xfa1/v/t1.0-1/c37.37.466.466/s160x160/269143_243956908956256_7357617_n.jpg?oh=a8934dc5a8ee93a4d2a3de2f3efa537a&oe=556B51F0&__gda__=1428812476_828aff508d7d025d223dfff42c769c69" /><br />
<b>Keene Wilson-</b> <a href="http://keenewilson.com/" target="_blank">keenewilson.com</a><br />
Keene was a real pleasure to meet as well. Lives down in Southern California. He clearly has a lot of experience with multiple mediums. He also has a wonderful resource page on his website called <a href="http://keenewilson.com/page/1399/for-artists" target="_blank">For Artists</a>, where he has links to many posts about workshops he's taken, books he's read, insights on different famous artists, etc. I've read over a number of them, and it really is a wonderful resource.<br />
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<img alt="Orin Carpenter" class="profilePic img" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-xap1/v/t1.0-1/c0.0.160.160/p160x160/10533795_10152576178793086_5524057838956467826_n.jpg?oh=e5c427f67a56fb54291188122f8c5d05&oe=555BC754&__gda__=1433221610_6408efe1b58edce474023c1d106a223f" /><br />
<b>Orin Carpenter-</b> <a href="http://www.orincarpenter.com/">www.orincarpenter.com</a><br />
I met Orin during the second workshop, and we hit it off immediately. I wonderful guy, and from browsing his website, clearly quite skilled in a variety of media as well. He teaches art to highschoolers up in Marin. A local! Now if I can only get him to go out plein air painting with me.<br />
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<br />
<img alt="painting en plaineir in Brandenburg" src="http://lynnehaines.com/system/html/painting_en_plaineir_in_Brandenburg-1111a829.jpg" height="152" width="225" /><br />
<b>Lynne Haines- </b><a href="http://lynnehaines.com/" target="_blank">lynnehaines.com</a><br />
Lynne lives up in Washington, and came down with her husband. What a pleasure to paint visit with her! Or squeeze into a taxi with with too many other adults! LOL. I was unaware of the extent of her watercolor experience though, until I visited her website. So she's obviously quite humble as well. ;)<br />
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<img alt="Efrain Ibarra Corral" class="profilePic img" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-prn2/v/t1.0-1/c0.0.160.160/p160x160/1392083_392474474213296_1344292336_n.jpg?oh=c773a20d7c9da3ccc742c8cd2a9f7a68&oe=5561D4A3&__gda__=1433230774_8e7132fa6182999ecf0c41474526ab7f" /><br />
<b>Efrain Ibarra-</b> <a href="http://www.iba-copalettes.com/" target="_blank">www.iba-copalettes.com</a><br />
Efrain not only paints, but he also builds these fantastic little plein air palettes. Very much like a Craig Young palette, but you can actually get one of these made for you and not wait years and years! :) Alvaro even posted about it on his Facebook page, I believe.<br />
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<br />
<img alt="Bert Sult" class="profilePic img" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-xfp1/v/t1.0-1/c0.0.160.160/p160x160/1924957_10202548358543850_2011445199_n.jpg?oh=3a38f8f3f7ef20244630c910ca9c5a65&oe=555FBFC8&__gda__=1428442437_167c5c24f16ea70f3cfdda34c4efd79d" /><br />
<b>Bert Sult</b>- <a href="http://bertsult.blogspot.com/">http://bertsult.blogspot.com/</a><br />
From the Raleigh area of North Carolina, I believe. Bert has taken a number of other workshops with Alvaro, and it shows. He's done some shows, and sold his work. <br />
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<img alt="" height="270" id="yui_3_5_1_4_1422119662305_655" src="https://sp.yimg.com/ib/th?id=HN.608017797318511887&pid=15.1&P=0" style="height: 270px; width: 180px;" width="180" /><br />
<b>Charles Knights-</b><br />
I couldn't find a blog or website for this artist from Bermuda, but Charles was such a gentleman. Quite an excellent painter too!! <a href="http://www.bsoa.bm/2011/09/watercolours-charles-knights/" target="_blank">Here's a link to an article about him</a>, which shows some of his paintings. Charles, why aren't you even on Facebook? I really dug your work, and now you deprive us? Phewy!<br />
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<b>Anthony-</b> <a href="http://taospaintbox.com/">taospaintbox.com/</a><br />
Anthony was soft spoken, but carried a blow torch!! :) Literally. I laughed and laughed when I saw him whip that thing out, but it was incredibly effective. We often didn't have a blow drier or outlet available for Alvaro, during the plein air demonstrations. Thank goodness for Anthony's preparedness! Of course, he also loves to paint, and runs the Taos Paintbox company, which produces beautiful handmade watercolor boxes, in the Craig Young style as well.<br />
<br />
And that's it for now, folks. Check 'em all out if you get the change. A fine bunch of painters. <br />
<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com1tag:blogger.com,1999:blog-3967620094494684524.post-69336262262839874452015-01-23T17:39:00.000-08:002015-01-25T08:40:00.449-08:00Cliff Notes for Zbukvic's "Mastering Atmosphere and Mood in Watercolor", pt. 3This is the third post in a series of three posts on Zbukvic's (sadly) out of print book. First things first, how about some more samples of Zbukvic's work? :)<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Elements of
creating Mood and Atmosphere-<o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">3 major moods-<o:p></o:p></span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> </span></span></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Soft and
Hazy</i>- low value contrast, soft edges, muted, analogous colors <o:p></o:p></span></div>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Medium
Mellow</i>- mid range for the set<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Sharp
Staccato</i>- high value contrast, hard edges, high chroma, complimentary
colors<o:p></o:p></span><br />
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">Tonal Value</b>- </span><br />
<span style="font-family: Calibri;">-all
about <i>relative </i>values… How much darker is THIS than THAT?<o:p></o:p></span><br />
<span style="font-family: Calibri;">-bold value
contrast= bright light (building in direct sun, beaches, scenes at mid day,
etc) <o:p></o:p></span><br />
<span style="font-family: Calibri;">-bold value contrasts
attract the eye<o:p></o:p></span><br />
<span style="font-family: Calibri;">-bright light only
occurs because of tonal contrast in the painting (a darker than
usual background, darker shadows, etc)—if these are removed or blocked,
the experience of bright light will diminish.<span style="mso-spacerun: yes;">
</span>The experience of light
occurs because of tonal contrast—it’s a relative experience.<span style="mso-tab-count: 1;"> </span></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;">-</span>mellow
value range= low light (scenes at beginning or end of day, shaded areas, etc)<o:p></o:p><b style="mso-bidi-font-weight: normal;"> </b></span><br />
<br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP</b>- the sky is often paler and of
lesser value than you think, even if you have clouds in<span style="mso-tab-count: 2;"> </span>it… otherwise the ground won’t read as ground.<span style="mso-spacerun: yes;">
</span>If the sky or the clouds ARE the actual focus of the composition, then that changes things some.<b style="mso-bidi-font-weight: normal;"> </b></span><br />
<br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">Edges- 4 types-</b><o:p></o:p> </span><br />
<span style="font-family: Calibri;">a variety
of edges help create depth just as much tone and color<o:p></o:p></span><br />
<br />
<span style="font-family: Calibri;">*<b style="mso-bidi-font-weight: normal;">TIP</b>- turn the paper upside down and do a gentle wash over the sky
line after you’ve <o:p></o:p><span style="mso-tab-count: 2;"> </span>painted
it and let it dry, to soften the distance and blur the edges<o:p></o:p></span><br />
<br />
<span style="font-family: Calibri;">vary your edges, don’t have them be
all the same<o:p></o:p></span><br />
<span style="font-family: Calibri;">-the type
of edge you get is dictated __directly__ by the relationship of pigment and water
<span style="mso-spacerun: yes;"> </span>on your brush compared to the amount of
water on the paper this is
where the watercolor clock is really really important<span style="mso-tab-count: 1;"> </span><o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Hard Edge</i>-
Can only be done on DRY paper.<span style="mso-spacerun: yes;"> </span>Can help
create a harsh, bright light.<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Lost and
Found Edge</i>- Can only be done on nearly DRY or DAMP paper.<span style="mso-spacerun: yes;"> </span>Good for creating varied mass within a single
wash or shape.<span style="mso-spacerun: yes;"> </span>Difficult to
control.<span style="mso-spacerun: yes;"> </span>Requiresthat you have an equal
or lesser amount of water on your brush compared to the paper, or you’ll get
blossoming as the water from your brush expands on the canvas.<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Soft
controlled Edge</i>- Done when the paper is MOIST.<span style="mso-spacerun: yes;"> </span>Good for interlocking shapes. Good for
connecting the sky to the horizon, instead of using a harsh, hard line.<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> 4)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Soft
Uncontrolled Edge</i>- Done when the paper is WET.<span style="mso-spacerun: yes;"> </span>Easy to accomplish, but hard to get it to
“read” as anything specific.<span style="mso-spacerun: yes;"> </span>Beautiful
but sometimes overused.<span style="mso-spacerun: yes;"> </span>Works wonderfully when combined with sharp hard edges.<o:p></o:p></span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">Color- the “Mother
Color”-<o:p></o:p></span></b></div>
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>He always
tries to tie an image together with a Mother Color, so things don’t get too d</span><span style="font-family: Calibri;">isparate.<span style="mso-spacerun: yes;"> </span>Rarely it’s a set of twins, but never more.<span style="mso-spacerun: yes;"> </span>The goal is to create</span><span style="font-family: Calibri;"><span style="mso-tab-count: 2;"> </span>harmony
through color.<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>He either
swings cool or warm, in a general gist, on the color of the painting.<span style="mso-spacerun: yes;"> </span>As a way </span><span style="font-family: Calibri;">to
guide the color choices and composition.<span style="mso-spacerun: yes;">
</span>Then he brings in the </span><span style="font-family: Calibri;">complementary
temperature as an accent.<o:p></o:p></span><br />
<br />
<span style="font-family: Calibri;">In this video of Alvaro Castagnet painting (also from an episode of Color In Your Life) you can see him put into effect a number of things that Zbukvic is talking about-- comparative values, varied kinds of edges, picking a mother color of sorts (for Alvaro, but of course, a red!). What's interesting to me is how two painters who are really pretty different all in all, are still using some of the same basic elements of composition and technique.</span><br />
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<o:p></o:p><span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">The Jewlery</b>- <o:p></o:p></span></div>
<span style="font-family: Calibri;">-can
determine the setting of a scene- is it a late afternoon festival with flags, a busy morning commute, or a deserted weekend morning?<span style="mso-spacerun: yes;">
</span>The scenes can be painted </span><span style="font-family: Calibri;">with
similar light.<span style="mso-tab-count: 1;"> </span></span><br />
<span style="font-family: Calibri;">-These
can be easily overdone.<span style="mso-spacerun: yes;"> </span>If you’re
looking for a place to put a piece of jewelry and aren’t
quite sure where it should go, you’re probably done.<span style="mso-spacerun: yes;"> </span>You should only include
what’s necessary to tell the story you want to tell—not more.<span style="mso-spacerun: yes;"> </span>Fewer brush
strokes = greater elegance of expression.<o:p></o:p></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"></b></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP-</b> if the painting is too dark, add
gouache highlights; if its too pale, add good, bold</span><span style="font-family: Calibri;"><span style="mso-tab-count: 2;"> </span>darks<o:p></o:p></span><br />
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<span style="font-family: Calibri;"><span style="mso-tab-count: 1;">Here are links to the other two "Cliff Notes" posts-</span></span><br />
<a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering.html" target="_blank"><span style="font-family: Calibri;"><span style="mso-tab-count: 1;">Cliff Notes, pt. 1</span></span></a><br />
<a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering_16.html" target="_blank"><span style="font-family: Calibri;"><span style="mso-tab-count: 1;">Cliff Notes, pt. 2 </span><o:p></o:p></span></a></div>
Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com4tag:blogger.com,1999:blog-3967620094494684524.post-22996324271077973892015-01-16T17:50:00.001-08:002015-01-25T08:35:33.876-08:00Cliff Notes for Zbukvic's "Mastering Atmosphere and Mood in Watercolor", pt. 2This is the 2nd in my series of 3 posts on this wonderful (out of print and very expensive) book. This section is all about Zbukvic's approach to Composition. To start us off, some tasty samples!<br />
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<a href="http://thewallbreakers.com/wp-content/uploads/2013/09/Joseph-Zbukvic_Watercolors_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://thewallbreakers.com/wp-content/uploads/2013/09/Joseph-Zbukvic_Watercolors_8.jpg" height="291" width="400" /></a></div>
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<a href="http://www.australianartsales.com.au/IEAP/2013%20IEAP%20Finalists/Joseph%20Zbukvic%20Final%20Effort%2050x70%20watercolour%20and%20body%20paint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.australianartsales.com.au/IEAP/2013%20IEAP%20Finalists/Joseph%20Zbukvic%20Final%20Effort%2050x70%20watercolour%20and%20body%20paint.jpg" height="298" width="400" /></a></div>
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<a href="http://thewallbreakers.com/wp-content/uploads/2013/09/Joseph-Zbukvic_Watercolors_7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://thewallbreakers.com/wp-content/uploads/2013/09/Joseph-Zbukvic_Watercolors_7.jpg" height="267" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Composition-<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">Zbukvic says, “Before you begin any painting, always ask
yourself the simple question, ‘What is it I am painting?’<span style="mso-spacerun: yes;"> </span>The answer should be Mood and
Atmosphere.<span style="mso-spacerun: yes;"> </span>The location should be
totally secondary and only provide the means to tell the story.”<span style="mso-spacerun: yes;"> </span>This is pretty much, according to the book, Zbukvic’s outlook
as an image maker.<span style="mso-spacerun: yes;"> </span>Essentially, it’s the
painters job to subordinate other things to the clarity of the story—and the
story is one of light and mood.<span style="mso-spacerun: yes;"> </span>Pick
what you want to say (about the light, the subject, the mood) and stick to
making it the focus. Everything else
falls into line with this goal in mind- composition, edges, value, and color. Just like Alvaro Castagnet said- “You begin painting the moment
you look at the subject, not with</span><span style="font-family: Calibri;"><span style="mso-tab-count: 2;"> </span>the
first brushstroke!”</span></div>
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<span style="font-family: Calibri;">In the book, atleast, Zbukvic tends to abide by this order of importance (with all
of them being important, of course). He's clearly a "tonalist", or so it seems to me.<o:p></o:p></span></div>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> 1)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">tone<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> 2)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">the drawing itself<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> 3)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">edges<o:p></o:p></span><br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;"> 4)</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">color<o:p></o:p></span><br />
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<b><span style="font-family: Calibri;"><u>Simplification</u>- <o:p></o:p></span></b></div>
<span style="font-family: Calibri;"> the goal is to tell a story, once
that’s accomplished the rest is unneeded<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>too much
information can obscure the story you are trying to tell, less is more<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span><span style="font-family: Calibri;">therefore, <i style="mso-bidi-font-style: normal;"><b> </b></i></span><br />
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;"><b> you need to simplify the
subject to be true to it</b><o:p></o:p></i></span><br />
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<b><span style="font-family: Calibri;"><u>Shapes- <o:p></o:p></u></span></b></div>
<span style="font-family: Calibri;"> think in shapes, not objects, also
very similar to Alvaro’s lessons<o:p></o:p></span><br />
<span style="font-family: Calibri;"> combine objects of similar value
together to make larger shapes<o:p></o:p></span><br />
<span style="font-family: Calibri;"> don’t forget, the sky is a shape
too<o:p></o:p></span><br />
<span style="font-family: Calibri;"> once you have the bigger shapes in
place, sub-divide into smaller shapes, then essential <o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>details
after that<o:p></o:p></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP-</b> When you paint, combine the shapes in a single wash with
varied values and hues, <o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>don’t
do washes in giant, monochromatic, untextured blocks<o:p></o:p></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP-</b> He varies the tone and color of his washes in different
areas, to get a single wash <o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>to
do the work of a few washes.<span style="mso-spacerun: yes;"> </span>He’s not
necessarily separating washes by </span><span style="font-family: Calibri;">shapes.<o:p></o:p></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP</b>- Shaded shapes and their shadows can be painted in a single
Milk or Cream <o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>application,
so there’s no division between the object and its cast shadow (ex.,<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 2;"> </span>with
rocks or walls of houses, or trees). You vary the thickness of your pigment to </span><br />
<span style="font-family: Calibri;"> create multiple shapes within a single wash.<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">*TIP-</b> Leave those little accidental
white “sparkles” in the painting, to relieve </span><br />
<span style="font-family: Calibri;"> the </span><span style="font-family: Calibri;">monotony.<span style="mso-spacerun: yes;"> </span>He also uses them later for highlights on
random objects too.</span><br />
<br />
<span style="font-family: Calibri;">Recently, as I was working on the post about going to view the <a href="http://seamlessexpression.blogspot.com/2014/12/exploring-artists-and-techniques-from_26.html" target="_blank">2nd Biennial International Watercolor Show,</a> I watched some videos by Muriel Chartrain. Fun! Her "simple" watercolor sketches instantly came to mind when I re-read Zbukvic's section on shapes. Here's the one I was thinking of--</span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/RyJj7s2MC4w?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: Calibri;">Muriel paints these in a single go, pre-wetting the paper and dropping pigment in (clearly something like Coffee on Wet). What's particularly interesting to see is that, as the paper dries, she begins to carve gentle compositional shapes out of the almost amorphous earlier wash. She seems to do this by either a) varying the thickness of the paint she's applying (so it disperses more or less), or b) she uses the fact that the canvas is slowly drying to help the paint disperse in different ways. There is no layering, no waiting for it to dry and cutting a new edge. Nope. She does it all in one go, and while the edges are soft, there are clear shapes there. Super fun to watch. Plus, I dug the music! ;)</span><br />
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<b><span style="font-family: Calibri;"><u>Foreground-<o:p></o:p></u></span></b><span style="font-family: Calibri;"> </span><br />
<span style="font-family: Calibri;">-don’t
overwork it, a common mistake<o:p></o:p><span style="mso-tab-count: 1;"> </span></span><br />
<span style="font-family: Calibri;">-the
purpose of it is to lead you into the painting; too much detail will stop the
eye from<span style="mso-tab-count: 2;"> </span>arriving
at the point of true interest farther in the painting<o:p></o:p></span></div>
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<b><span style="font-family: Calibri;"><u>Middle ground-<o:p></o:p></u></span></b></div>
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> -</span>this is
where you put “the actors on the stage”<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;"> -</span>The point
is to draw the viewers eye to the actors on the stage, not the stage itself,
nor <o:p></o:p>the
back drop, nor the back of the heads of other audience members.<span style="mso-spacerun: yes;"> </span>A painter </span><span style="font-family: Calibri;">should always be thinking about what the real “actors” in the painting are, to </span><span style="font-family: Calibri;">keep
themselves from getting distracted by extraneous details.<span style="mso-spacerun: yes;"> </span>The actors are </span><span style="font-family: Calibri;">typically
in the mid-ground.<o:p></o:p></span><br />
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<b><span style="font-family: Calibri;"><u>Background</u>-<o:p></o:p></span></b></div>
<span style="font-family: Calibri;">-Gives the
painting depth<o:p></o:p></span><br />
<span style="font-family: Calibri;"><span style="mso-tab-count: 1;">-</span>Is
usually overworked and too dark, because its painted first<o:p></o:p></span><br />
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<b><span style="font-family: Calibri;"><u>Drawing-<o:p></o:p></u></span></b></div>
<span style="font-family: Calibri;">-The
drawing is the bones of the painting.<span style="mso-spacerun: yes;"> </span>No
amount of paint can disguise a terrible<span style="mso-tab-count: 2;"> </span>drawing.<o:p></o:p></span><br />
<span style="font-family: Calibri;">In his
opinion, its ok to get carried away with the drawing, even if it gets erased or
<o:p></o:p>covered
by the painting because it helps acquaint you with the subject more.<b style="mso-bidi-font-weight: normal;"> </b></span><br />
<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;">*TIP</b>- make the drawing light, even if
it is detailed, so that it doesn’t dictate your future painting decisions, which should develop and evolve as the painting progresses<br />
<span style="font-family: Calibri;">*<b style="mso-bidi-font-weight: normal;">TIP</b>-
will sometimes sketch in small, very dark windows or openings on buildings and </span><span style="font-family: Calibri;">leave
them here on purpose in the final painting, instead of repainting them<o:p></o:p></span><br />
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Practical tips-</span></u></b><span style="font-family: Calibri;"> </span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri;">- You need consistent, mellow light on your palette and
canvas, whether you’re inside or outside.<span style="mso-spacerun: yes;">
</span>Don’t paint in full sun, as it’ll change the way the paint looks.</span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Calibri;">- Arrange your materials ergonomically- put your water and
palette on the same side of the canvas as your dominant brush-hand.</span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri;">- Not against using white gouache or Chinese/ Titanium white
to reclaim highlights.</span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri;">-use small brushes for small shapes and big brushes for big
shapes</span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri;">-hold your brush farther back on the handle</span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri;">-paint with your canvas at an angle, about 35 degrees<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;">Here are links to the other two parts of the "Cliff Notes"-</span><br />
<a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering.html" target="_blank"><span style="font-family: Calibri;">Cliff Notes, pt. 1</span></a><br />
<span style="font-family: Calibri;"><a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering_23.html" target="_blank">Cliff Notes, pt. 3 </a></span><br />
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</span>Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-78582086150711880952015-01-09T22:01:00.000-08:002015-01-30T06:38:18.141-08:00Cliff Notes for Zbukvic's "Mastering Atmosphere and Mood in Watercolor", pt. 1<div class="separator" style="clear: both; text-align: left;">
First, in case you don't know Joseph Zbukvic well as an artist, here are some samples of his work. Lovely!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9h4ncB0k874Gdby20ny8IJAMG84wgiAAMsACYW_xpU7TcSJkU4LdyLTc4HdgBNChdpQZMIOeHNVyKcd7qKOItCwIcjzZ58mpMTvqS-2x_QuHVCCLZMC2VoLXOe_7Ik5dY8VAkrOS2mSm/s1600/zbukvic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9h4ncB0k874Gdby20ny8IJAMG84wgiAAMsACYW_xpU7TcSJkU4LdyLTc4HdgBNChdpQZMIOeHNVyKcd7qKOItCwIcjzZ58mpMTvqS-2x_QuHVCCLZMC2VoLXOe_7Ik5dY8VAkrOS2mSm/s1600/zbukvic.jpg" height="283" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjGcfCvWpLPo82pTDmIlrf58IqWBWHt0RW3x9IfXbkmwrOT7OIUtCtLVSYkSjS7UsEhmR3eY1-seLhmreK3DwvLnl2Y8iZxdz3wmGX7MaBDZ4s28SRuE38KT_24sFibv27-3H46XuMzk/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjGcfCvWpLPo82pTDmIlrf58IqWBWHt0RW3x9IfXbkmwrOT7OIUtCtLVSYkSjS7UsEhmR3eY1-seLhmreK3DwvLnl2Y8iZxdz3wmGX7MaBDZ4s28SRuE38KT_24sFibv27-3H46XuMzk/s1600/1.jpg" height="265" width="400" /></a></div>
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<a href="http://media-cache-ec0.pinimg.com/736x/e6/f9/22/e6f922a2f8cf5a9db9e8970a3404f567.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://media-cache-ec0.pinimg.com/736x/e6/f9/22/e6f922a2f8cf5a9db9e8970a3404f567.jpg" height="276" width="400" /></a></div>
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<a href="http://epc-artcourses.com/wp-content/gallery/jzobras/14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://epc-artcourses.com/wp-content/gallery/jzobras/14.jpg" height="281" width="400" /></a></div>
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Last Spring I had the opportunity to read Zbukvic's out of print <a href="http://www.amazon.com/Mastering-Atmosphere-Mood-Watercolor-Ingredients/dp/1929834179/ref=sr_1_1?ie=UTF8&qid=1420427541&sr=8-1&keywords=mastering+atmosphere+and+mood+in+watercolor+by+joseph+zbukvic" target="_blank">"Mastering Atmosphere and Mood in Watercolor"</a>, thanks to the magic of the interlibrary loan process (Yay public library system!!). I even made a little review of it in an earlier post "<a href="http://seamlessexpression.blogspot.com/2014/11/6-summer-reading-books-for-watercolor.html" target="_blank">Summer Reading for Watercolorists</a>". In the hopes that my notes and thoughts might be helpful to others, I'll be doing three posts, as I break down the book- one on the Watercolor Clock, one on Composition as the book presents it, and one on Mood and Atmosphere.<br />
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<strike>Also, for those who don't have 500$ to buy a used copy of the book on Amazon, I would like to share a link to a pdf copy of the book that is available online. The book is out of print, but should really be read far more than it is. I contacted Joseph Zbukvic re: this, and he gave the go ahead. So, <a href="http://www.mediafire.com/download/dycyful1k83sazk/Mastering+Atmosphere+and+Mood+Complete.zip" target="_blank">here's the link</a>.</strike> Sorry folks, the link was taken down. My apologies. I hope the blog posts are still of use (or even more use?). If you hunt, you can sometimes find copies in public libraries-- that's how I got mine.<br />
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Now, with all that in place, without further ado-<br />
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<b style="mso-bidi-font-weight: normal;"><u>Zbukvic’s Watercolor
Clock-</u></b></div>
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This is the really the nuts and bolts of the book-<span style="mso-spacerun: yes;"> </span>Zbukvic’s thesis on how to get pigment and water to do
what you want it to do.<span style="mso-spacerun: yes;"> </span>It doesn’t have
anything to do with how to compose an interesting image, or what techniques you
should use to what affect.<span style="mso-spacerun: yes;"> </span>It’s really
just about understanding the mechanics of watercolors.<span style="mso-spacerun: yes;"> </span>He uses this set up throughout the book to
let you know how he’s applying pigment and water in the painting examples.<o:p></o:p><br />
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In a gist, you need to know how wet your canvas is and how
wet/ full of pigment your brush is.<span style="mso-spacerun: yes;"> </span>When
the two interact, different things happen, depending on the ratio. <span style="mso-spacerun: yes;"> </span>He has 5 versions of paintbrush wetness and 4
version of paper wetness.<span style="mso-spacerun: yes;"> </span>Each combo
of hands (one being how wet the pigment/brush is and one and being how wet the paper is) creates a different effect, depending on what "time" it is on the clock.<span style="mso-spacerun: yes;"> Joseph has a beautifully illustrated version of the clock in the book, but in a rudimentary fashion, it</span> looks
like this-<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsv-eUImrgniKGCX-EXXH5EnBORKk77MOnrznRFw5wTwOg2jIQJtbvmpxd8Dhpt0aadghYWugv8KU9Bg2RVBBPNXruJwrvEGVn2DSqZjJ4b41BkPkuw1saae9P8YRW7jEwsuE_VafuA8/s1600/Zbukvic+watercolor+clock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsv-eUImrgniKGCX-EXXH5EnBORKk77MOnrznRFw5wTwOg2jIQJtbvmpxd8Dhpt0aadghYWugv8KU9Bg2RVBBPNXruJwrvEGVn2DSqZjJ4b41BkPkuw1saae9P8YRW7jEwsuE_VafuA8/s1600/Zbukvic+watercolor+clock.jpg" height="372" width="400" /></a>
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<b><u>Pigment Consistencies (on the Brush)-<o:p></o:p></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Tea</i></b>= very thin and watery, not much pigment; moves freely on
canvas if tilted; good for skies and clouds<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Coffee</i></b>= stronger mix; moves freely when canvas is tilted, but
leaves behind a wash of color; good for distant mountains, clouds, and gentle
shadows<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Milk</i></b>= thick enough to dry reasonably close to the color in the
palette; good for mid and foreground, dry brush techniques; can get muddy if
over-brushed, but will create granulation of a large area<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Cream</i></b>= sludgy, fluid consistency; moves on palette when mixed,
and slowly on paper when tilted; this won’t create a bead, so used more like
gouache; good for darker things- shadows, rocks, dark trees, etc.; creates
broken edges; good to drop into wet and milky washes to create undulations and
varied values<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Butter</i></b>= basically straight from the tube; won’t move even if
held upside down; don’t over do it- basically used for creating rich contrast
with gentler washes and muted colors; done only at the end of the painting<o:p></o:p></div>
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<u><b>Paper Wetness-<o:p></o:p></b></u></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Dry</i></b>= well, dry; creates sharp edged contrasts and uses the
paper texture a lot<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Damp</i></b>= almost dry, probably cool to the touch; easy to screw up
if you have too much water on your brush, which will create back-bleeds into
the painting; best to paint on with a thick application of pigment (like cream
or butter) as that will control the soft edges of the brush marks; good for
scratching, lifting pigment, and splattering water drops or salt where you want
to create a mottled texture<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Moist</i></b>= not sopping wet, but still has a sheen- a short lived
stage; good for soft edges on shapes you’d like to keep atleast semi-controlled,
good for dropping one color into another so they’ll gently mix<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Wet</i></b>= very wet and glossy, you can tilt the water in any
direction you want; good for alla prima applications of color, graduated washes
with granulation, and tea and coffee applications; creates soft, diaphanous
edges<o:p></o:p></div>
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<o:p>Let's see some of that in action-</o:p></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/81w9PBZOmZ8?feature=player_embedded' frameborder='0'></iframe></div>
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<o:p>Here's a video of Zbukvic painting from YouTube (part of the Australian show "Colour in Your Life"). Let's go through what we can see, and I'll try and associate it with the clock-</o:p><br />
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<o:p>11:00 <b>Tea on Dry. </b> </o:p><br />
<o:p>He starts a pale wash. All edges that he cuts are sharp, but the value of the pigment he applies is light.</o:p><br />
<o:p>13:00 </o:p><o:p><b>Coffee on Damp. </b></o:p><br />
He starts a new, darker wash on the still damp paper, varying the values, <o:p>getting darker here and there, but some of his edges are a bit softer than before. </o:p><br />
<o:p>14:00 <b>Coffee </b></o:p><o:p><b>on Dry.</b> </o:p><br />
<o:p> </o:p>He lays a darker section in, to the right of the image. He blends it into <o:p>with the previous wash on the left side (which is still a bit damp), but you can see that the edges are generally dry on the right and that he can do dry brush work (at the bottom of the shape, by the street), because the pigment is a bit thicker.</o:p><br />
<o:p>15:00 <b>Milk on Damp.</b> </o:p><br />
<o:p>You can see him do the simple strokes into the wash he finished, on the right, for windows. The pigment is thick enough to be darker than the wash. The edges are all soft, but the pigment doesn't disperse, thus Damp.</o:p><br />
<o:p>16:00 <b>Cream on Dry. </b> </o:p><br />
<o:p>This is where he sets in to do the cars. You can see from the close up that the paint is a bit thick on his brush. Perhaps Cream. Also, the paint doesn't create a bead when he uses it on the cars.</o:p><br />
<o:p>17:00 <b>Cream on Moist. </b> </o:p><br />
<o:p>This is for the red tail lights. You can see how the very rich color disperses and runs down into the darker value of the car. He daubs it in, and the water does the work.</o:p><br />
<o:p>17:50 <b>Butter on Moist. </b> </o:p><br />
<o:p>He takes the white straight out of the tube and applies it to a slightly damp surface. The goal, as he says, is for the white to "melt" into it. Compared to the red tail lights, it disperses less, because the pigment is thicker/drier than before. So it's not just the wetness of the canvas that's important, but the brush too.</o:p><br />
<o:p>18:00 <b>Milk on Dry/Damp</b>. </o:p><br />
<o:p>This is where he starts painting the tree in the foreground on the left. The value is noticeably darker than the older washes, and he removes some of the paint from the brush, so it's not so loaded/wet. This lets him paint with more texture.</o:p><br />
<o:p>19:00 <b>Cream on Dry? </b> </o:p><br />
<o:p>This is when he does the leaves and the light posts, etc.. As he says, "The paint is lovely and thick." That's how he's getting that dark, saturated value as well as all the texture. </o:p><br />
<o:p>21:00 <b>Milk on Wet</b></o:p><b> </b><br />
This is the final stage, where he wants the pigment to really run. He pre-wets<o:p> everything and drops rich paint in. And boy does it run. This is much different than earlier stages, where the brush was very wet but the paper was drier (either totally dry or damp). Now, the paper is very wet and brush is comparatively dry. This is making all the difference in the world. If the pigment on the brush was wetter, it would run faster. You can see how it slowly drifts down the page though, and is able to keep its value despite the page being re-wet. If he wanted it to run only a very little bit, he might have put <b>Cream on Wet </b>instead, for example, which produces a different effect, as the paint is comparatively "drier."</o:p><br />
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<u><b>My thoughts-</b></u><br />
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After much experimentation, my take on all of this was that the
wetter your paper is before you put paint down (such as Moist or Wet), the better wet washes play, mostly because you can’t control much anyways—it’s all
about washes or granulation at that point.<span style="mso-spacerun: yes;"> </span>The drier the paper gets (such as Damp) while
still being wet, the better it is to use drier and thicker applications of
pigment (which will soften with the damp surface, but not bleed so much).<span style="mso-spacerun: yes;"> </span>Once the paper is dry, you can use any
application of paint, with the purpose of the stroke dictating the thickness of
the applied pigment (a pale valued wash of shadow being Tea or Milk, versus a
super chromatic glob for a headlight being Butter, for example).<span style="mso-spacerun: yes;"> </span><br />
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<span style="mso-spacerun: yes;"></span>The trick is to figure out when a paper is
Damp or Moist, etc. as well as when the pigment is a Milk or Cream consistency,
for example.<span style="mso-spacerun: yes;"> </span>That basically takes pure
experimentation and doodling, to just see how different combos of wetness and
dryness interact.<span style="mso-spacerun: yes;"> </span>Playing with pigment
and water on the canvas this way was fun, and well worth doing!<span style="mso-spacerun: yes;"> </span>Quiet educational, in the best way.<br />
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<o:p></o:p></div>
<span style="font-family: "Calibri","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
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<span style="font-family: "Calibri","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Here are links to the other two parts of the the "Cliff Notes"-</span><br />
<a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering_16.html" target="_blank"><span style="font-family: "Calibri","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Cliff Notes pt. 2</span></a><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://seamlessexpression.blogspot.com/2015/01/cliff-notes-for-zbukvics-mastering_16.html" target="_blank">Cliff Notes pt. 3 </a></span><br />
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Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com8tag:blogger.com,1999:blog-3967620094494684524.post-55442298947131907972015-01-02T07:32:00.002-08:002015-01-03T07:52:00.167-08:00Exploring atists and techniques from the 2nd Biennial International Watercolor Show, pt. 3- Alvaro Castagnet<div dir="ltr" style="line-height: 1.15; margin-bottom: 10pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">Alvaro Castagnet-</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Of course, Alvaro was on the actual flyer for the show, so getting to see some of his work up close again was of great interest to me. I thought I would start with the painting on the front of the flyer. It’s gorgeous, and very typical Alvaro! It’s also very big (bigger than a full sheet?), at 4’ wide x 3’ tall or so, so it allows for a lot of very loose brush work (both wet and dry), and yet it’s still very legible when you back up. A wonderful combo.</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Here’s a closeup of the people walking, in the bottom right of the image. I love how its almost pure gobbledy-gook when you get up close! You can clearly see lots of dry brushwork, and then a warmer opaque watercolor being applied for highlights. I saw him do something similar in the class this past April, and he was combining Chinese White with Yellow Ochre for this kind of affect.</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Here’s the cars upclose. I was wondering if he actually splotched some water in there after he'd done the wash, to get those lovely washy bits, or if he did the opposite and actually had a very wet, rather pale wash in there, and then dribbled the thicker, darker pigment into it and let it disperse. The affect isn't what's so surprising to me, as I've actually gotten similar affects myself at times, but rather the control- where's all the water and pigment going when he paints this way? It isn't like it's running off the bottom of the page, since the shadow is trapped. That's sort of confounding to me. Also, you've got to have some tilt in there to get things to run, but it can't be much or it would get trapped at the bottom of the shadow. Perhaps he tilts it at first, then lets it dry flat, after he gets the affect he wants?</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">I was also intrigued by the very rough, dry brush work. You can see it on the pale valued shadows for the windows, but also down below, in a darker value, where the dry brush work is sort of scrubbed very loosely into the shadows above the taxi. That's quite interesting to me in particular, because the dry brush work isn't actually defining a form there, the way it is on the windows, but rather a darker value... which is something I might often do with a wash instead.</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">** </span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">In this second pic below, what I was drawn to most were the shadows and headlight reflections.</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">When I pulled in close, I was surprised to find out that the reflections of the car lights on the wet road are all dry brush strokes. What a fun juxtaposition!</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Again, as in the first image, you can see how loose he is with his people. Lots of dry brush work and opaque, light valued watercolor pigments. As I've seen him do before, the color/ value of the umbrellas and the base work for the figures is laid during the first wash, and then preserved and cut around. The thicker, higher chroma pigments for the faces and what not were done later, atleast when I saw him do them. Again, as with the headlights, the legs and and their reflections in the water are all done dry on dry.</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">This
is the 3rd and final Alvaro image that I have pics of from the show.
This one, like the first two, was a full sheet (or bigger?), so each little section I'm taking a pic of is probably a quarter sheet or so in scale. Big stuff! In this one, I was struck by two primary things- the cab lights and the window reflections. </span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">First, look how thick the pigment was on the cab lights. That stuff is gooped on like impasto! It’s also applied dry, as you can see the texture of the paper with ease. Here’s the closeup.</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">My favorite part though is this thing he does with the windows. As before, this section of the painting, in and of itself, is probably atleast a quarter sheet. So, he's playing rough and loose with his brushwork.</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The glare that is captured there is wonderful. What’s neat is that he does almost all the shadow work there with very dry brushstrokes. You can see paper texture really show through with the brushwork. I also have to assume he’s pulling some of the red-brown pigment off the paper after the fact in that particularly “bright” area, though who knows? Still, I saw him scrub stuff out with a tissue, to bring back highlights for lamp posts, so perhaps he did the same thing here. Perhaps he just has some impressive brush control and lifts the brush in the right locations of each of the windows?? Either way, it's also subtly enhanced by the paler yellow wash in the center of the glare on the window, with the yellow "shadows" around them. Each element of the affect supports the other. I also enjoyed that strong linear shadow crossing the windows from left to right.</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">And that's it folks. If you've gone through the 3 posts, I hope you've found some artists or techniques you might want to explore more. Not having been to a watercolor exhibition before, and of such high quality, I can definitely recommend the experience. Getting to see stuff so upclose was wonderful and very instructive. I hope I've been able to replicate some of the experience for you here. </span> </div>
Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com6tag:blogger.com,1999:blog-3967620094494684524.post-81328307890146426482014-12-26T21:33:00.000-08:002014-12-26T21:33:21.870-08:00Exploring artists and techniques from the 2nd Biennial Watercolor Show, pt. 2<b style="font-weight: normal;"></b><br />
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<b style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">Ewa Karpinska-</span></b><br />
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<b style="font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCJFPBBLRtaClMeP6CKDy5QLRESBjRuHIPlu5A4L_g9dCtZFzbfZgqINgDpYx6qEjncyK1qUxb1nBGdViL0A19DofpgqnYvYhFNhbtpIWSjz1C-7aYNFytugep3A0tfg442iLO8TwNvs/s1600/IMG_3671.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCJFPBBLRtaClMeP6CKDy5QLRESBjRuHIPlu5A4L_g9dCtZFzbfZgqINgDpYx6qEjncyK1qUxb1nBGdViL0A19DofpgqnYvYhFNhbtpIWSjz1C-7aYNFytugep3A0tfg442iLO8TwNvs/s1600/IMG_3671.JPG" height="640" width="480" /></a></b></div>
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<b style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">I found the paintings by Ewa amazing and fascinating, and she was easily my big discovery of the event. I knew I liked Castagnet going in (and he did not disappoint!!), but Ewa was a painter I'd never even heard of before. All her paintings were very large- 4’ x 3’ atleast. All the images are also semi-abstract, but much like seeing the amazingly oversized Monet Waterlilly murals, as I backed up I began to see the image more and more clearly. One is, to me, clearly a waterfall splashing on a rock, another a puddle with neon lights in it, another perhaps a turtle seen underwater, with reflections on it. Go in close though, and its pure insanity! Crazy stuff.</span></b><br />
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<b style="font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Fhao0wdMj8ulOssmABxUdhskgl1XunEYMM0OswDi6yXlum51EnWll6bM8rw5hEeegmr0pARUmVzRhpVTFD-B60Y1d17oNFNoa1Bfbjnvu9G7m-n0-8hXkM6cWL94nBTo9n-PhyphenhyphenuA3ug/s1600/IMG_3670.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Fhao0wdMj8ulOssmABxUdhskgl1XunEYMM0OswDi6yXlum51EnWll6bM8rw5hEeegmr0pARUmVzRhpVTFD-B60Y1d17oNFNoa1Bfbjnvu9G7m-n0-8hXkM6cWL94nBTo9n-PhyphenhyphenuA3ug/s1600/IMG_3670.JPG" height="640" width="480" /></a></b></div>
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<b style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">My presumption, with these first closeups, is that a lot of wet into wet into wet work is occurring, where a wash is put down, let to dry just a little bit, and then a thin, clean, wet brush is used to stroke water into areas, and push the pigment out, to form these circles and strokes.</span></b><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">With this second set of closeups, my presumption is that that incredible glowing affect is being created by following the patterns of the first set, but that she is then going back into it with a brush that is heavily charged with pigment instead. Thus, instead of the white of water, we’re getting these glowing oranges and yellows abutting the darker blues and greens of the first wash. I would be astounded if she was able to do this by progressively building the image wash by wash, and from what I saw of a demo video they were showing at the exhibit, it does seem like she’s doing an immense amount of wet into wet work, and that she’s doing it flat. The video wasn’t for any of the paintings in the exhibit, but it gave a sense of her working process.</span></div>
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<b><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">Eric Laurent-</span></b><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">This painting of Eric’s struck, in particular because I’ve long been interested in a more responsive, organic way of painting high valued, chromatic foliage against a darker background, without having to use masking fluid or to go through a super careful, very detailed process of preserving my highlights. </span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">I’m not sure what pigments he’s using, but it’s obviously very opaque. Perhaps Cad Yellow? He’s also got some opaque lime in there, so I think he must be mixing it with something. I’ve yet to try it with Viridian, but it’s a relatively opaque green. So maybe??</span></div>
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<u><b style="font-weight: normal;">Muriel Buthier Chartrain-</b></u><br />
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I found this piece by Muriel at the end of the day, and loved it. I wish there had been more than one, but that was actually pretty common with the exhibition. I looked her up on line and couldn't find a website for her. You can find other samples of her work though, if you google her name. She's clearly putting her work into shows and what not in Europe.. However, I did find out that she has various videos you can watch of her on youtube. <a href="https://video.search.yahoo.com/yhs/search;_ylt=A0LEViSPQZtUjf0Api4PxQt.?p=muriel+chartrain+watercolor&fr=&fr2=piv-web&hspart=mozilla&hsimp=yhs-001" target="_blank">Here's a link to her videos</a>.<br />
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Here you can see the absolutely gorgeous texture she's getting in her work. I'm assuming, much like Bjorn Bernstrom, she applying a pigment very very thickly, and then pushing water or a diluted pigment through it, or spritzing water on it/through it, to get that gorgeous, runny granulation. <br />
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Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com6tag:blogger.com,1999:blog-3967620094494684524.post-68811505036423419292014-12-22T08:09:00.004-08:002014-12-24T14:40:12.287-08:00Exploring artists and techniques from the 2nd Biennial International Watercolor Show, pt. 1<b style="font-weight: normal;"></b><br />
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<b style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">I had the privilege of going to 2</span><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 9px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: super;">nd</span><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> Biennial International Watercolor Show this October while on vacation in Spain. Narbonne, France is closer to Girona and Barcelona than I thought! Thank goodness for high speed rail and the gift of birthday money! Yay! I couldn’t pass up the serendipitous opportunity. So, I hopped on a train and got to look at the paintings for my birthday—a little side trip. I wanted to share some of the pics I took, highlighting different artists I was particularly struck by. </span></b></div>
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<b style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">In addition, I took a series of upclose pics of the same paintings as well, as I hunted for clues into some of the “nuts and bolts” of the techniques these different artists were using. It was very illuminating to have the opportunity to see some of these works __really__ up close, as in… within inches (not to worry, they were protected by glass!). If you have the opportunity to go to a show like this in the future for some reason, my advice is-- It’s well worth going. </span></b></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">So, I have 5 or 6 painters I wanted to highlight from what was easily 20-30 or more, and sort of take other on a "virtual tour" of the exhibit! What was of particular pleasure was seeing some really big Alvaro Castagnet paintings upclose-- something I'd not done before. I'll be sharing pics of his work in a later post. Actually, as there’s a series of pics and thoughts on each artist, I’m going to break it up into a couple of shorter posts. </span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Now, without further ado—</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">Michelle Reynier-</span><br />
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">I was particularly struck by these two abstract paintings. I had no previous knowledge of Michelle, but I found out later on that she lives in France and offers classes. Her abstract work is fascinating, mostly because, to me, she treads that line of creating something almost organic in composition… as if it were a painting of a very small animal, like plankton, that I just hadn’t seen before. In addition, the paintings really seem, well, “watery”. There were some other abstracts there that didn’t strike me as much, partly because I felt like they were almost gauche or diluted acrylics. Michelle’s paintings, however, always seemed to really take advantage of the medium in ways that appealed to me. </span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Also of interest to me was that her work was gallery wrapped and sealed in some way. Satin varnish? Or wax? I wasn’t sure. She put some sort of additional "paper" or "tape" around the edge, as a trim. I'd not seen a gallery wrap before, but had only read about it online. Cool!</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"></span><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Of particular note technically was that she seemed to be using what I can only assume is hair in paintings. In the up close shot above, you can see the actual shadows and highlights from some of the unremoved hair. My presumption is that she set the hair into the paint while it was wet, and then brushed/ dusted it off after it was dry, to get these very delicate, organic “etchings” in the paintings. I love the idea of using whatever material is available to make marks with, but I’d never thought of using hair before!</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">Frank Perrot-</span></div>
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<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">This man did some beautiful mixed media figure paintings, where he was gently cross-hatching with pencil—darker pencil for certain edges and recessive areas, and a paler blue pencil for areas of highlight. </span></div>
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<br /><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">In this closeup, you can see how he is using the texture of the paper to good effect. Perhaps it’s conte or some sort of charcoal or chalk?</span><br />
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<br /><span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">In these two next images, I was also struck by his method of merging the fore and background areas of the image by having his textured/abstracted background watercolor wash actually cross into the body of the figure. Then, on one side, you could see he was carving out the form of the body with a judiciously placed pencil line or two on the back of the figure, and on the shadowed side he was modeling the form by using a new, darker blue watercolor wash. Using the two media in conjunction with each other was very intriguing to me, and really merged the fore and background elements of the painting into one.</span><br />
<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"></span><br />
<span style="background-color: transparent; color: black; font-family: Calibri; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Next time, I've got Ewa Karpinska and Eric Laurent. I'm saving Castagnet for last, as I've got the most pics of his stuff.... :)</span></b><br />
Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-12725461132217691412014-12-13T21:25:00.000-08:002014-12-13T21:25:02.520-08:00Mystic Owl series<br />
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I wasn't quite sure how to title this, but I did a series of paintings with an owl, and I really pushed the background to be loose, free, and... well... "mystical". I wanted that feeling I get from an owl to come across in the image. If you're interested in the process of making a painting, then this post is for you. I've got lots of in-process photos of various iterations, and some video! Fun. :)<br />
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The final image is a full sheet (22" x 30"), but I started with a smaller image, (15" x 22"), building the texture of the wings with a granular technique, using Raw Umber. I then cut the shape with the background. You can see the first two steps here.<br />
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I eventually layered the image up to this more complete stage--<br />
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I'd not gotten this granular technique to work before this owl, and so spent some time working on the backs of old sheets, etc., as I tried to get a handle on the process and make it repeatable. It requires A LOT of Raw Umber, daubed/ applied very thickly into a pre-existing wash. Then I dribbled water/ watery pigment into it, tilt the board, and let the water paint for me, creating all those wonderful rivulets. Here you can see some of my process--<br />
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I played with the image over the next week. I was not particularly satisfied with either attempt, although I liked bits and pieces of each. However, my sister took a series of photos and videos of the process, which was fun You can get a sense of how I'm doing the background in these. I'm using a spritzer bottle a lot, to move the pigment, with lots of playing with gravity. :) The resolution of the video is small, so it doesn't blow up too well full screen, but it works well in the boxed videos.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzortXmDWKp_J8yt5OqnMU9sCV4PXP1S690XmkJm2cebmw15m3BT_JvnQB4WcOAN_qUQ7al13l_lDlPUEYBAQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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Here you can see the two images I worked on. This first one sort of reminds me of Totoro. :P <br />
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In the end, this final one I'm sharing was the one I was happiest with. Again, it was a full sheet, so pretty big by my standards. Very exciting to work that big. Haven't done that in a while. I only remembered to take some step by step photos part way through, but I though I'd share what I've got, as it's focused primarily on the final stages, and sort of supplements the steps you've seen earlier, from the previous two iterations. <br />
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And, the completed image! :) </div>
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-21052053876063733022014-12-05T19:31:00.001-08:002014-12-05T19:31:09.942-08:00Evolution of an Image- Winter Tree in a Mountain ValleyI did this series of paintings from a photo and wanted to share the process.<br />
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This small one came first. It's basically a repainting/ reduction of the original image. The photo is coming out a bit warm, but it gives the gist. This is a small 1/8 sheet, 7.5" x 5".<br />
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I then cropped the image and and re-painted it vertically, focusing mostly on the tree. This one was also a 1/8 sheet, 5.5 x 15".<br />
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I then blew it up and tried it big, on a 1/2 sheet. I had forgotten how difficult it is to paint big-- logistical issues show up that I hadn't anticipated. You have to manage the wetness of a very large area, and that can make things complicated. Kat began to point out that the image doesn't necessarily work the same when its larger-- the viewer expects more detail in some locations, for instance, etc.<br />
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Anyways, it's not perfect, but there are some things to like in it.<br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com3tag:blogger.com,1999:blog-3967620094494684524.post-34144187953715976062014-11-29T10:01:00.000-08:002015-01-02T07:33:06.181-08:00Evolution of an Image- Mountain Valley Painting<div class="separator" style="clear: both; text-align: center;">
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I recently did a painting of a mountain valley, and I wanted to share it as well as some of the earlier failed attempts, as I figured out the composition and how I wanted to approach the image.<br />
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Nope. Definitely not. I just stopped and didn't even try to finish it.</div>
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Better, I suppose, but way too dark. Not enough contrast. </div>
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In this last one I pushed the feeling of light by simultaneously dropping stronger shadows across the valley and adding the white caps to the tips of the mountains. Those mountain tops, in order to really pop, are basically the only pure white sections in the painting besides that sliver of road. I even pre-washed the sky with a very pale wash of yellow, and did a pale grey wash over everything, after the clouds were formed and dried. The combo knocked the clouds and sky back some. The combo of the recessive sky and the pure white mountain tops got the affect I was looking for.Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-1403192563390050352014-11-21T16:13:00.000-08:002014-11-21T16:13:13.009-08:00Various paintings from classI've been taking a semester long class where we meet all day once a week, and have painted a variety of things since September. One of the things I love about taking a class like this is that it requires me to set aside time each and every week to paint, regardless of what my schedule is like. Of course, I often paint more frequently than that, but that's not always the case-- so its a good thing that that special time is always reserved. Also, it gets me to paint subjects I wouldn't normally approach, and to develop and hone techniques that I sometimes think I've got enough under control... but could still use some practice on. ;)<br />
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Most of these are smaller, 1/8 sheets- 7.5" x 5". A common size for me to experiment on in class.<br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-31477088484679478562014-11-14T07:52:00.001-08:002014-11-14T07:52:07.395-08:00Sketches from October in Barcelona<div class="separator" style="clear: both; text-align: center;">
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View from our window at night</div>
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We were back in Barcelona for a 10 day trip in October, and that meant I had some regular time to do sketching. City scapes and people. Fun! This is an assortment from the trip.<br />
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<br />Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com0tag:blogger.com,1999:blog-3967620094494684524.post-22076962174171159652014-11-07T06:10:00.002-08:002014-11-07T06:10:54.420-08:006 Summer Reading Books for Watercolor Nerds! This last Spring and Summer, I dug into a number of different books that had been recommended to me. I'm not really sure they qualify as light "summer reading" (!), but even so I wanted to pass along those recommendations with a brief synopsis of my own thoughts on each book. I've thrown in Gurney's "Color and Light" (which I read a few years ago) because I haven't talked about it much here, but I consider it essential reading. If you have recommendations of your own, please offer them up. Always looking for good reading. :)<br />
<br />
1) "<a href="http://www.amazon.com/Hawthorne-Painting-Dover-Art-Instruction-ebook/dp/B00CWR4Z3W/ref=sr_1_1?ie=UTF8&qid=1414342350&sr=8-1&keywords=hawthorne+on+painting" target="_blank">Hawthorne On Painting</a>" by Charles Hawthorn<br />
4.5 stars, if you like watercolor philosophy, but aren't looking for specifics on technique<br />
2) Joseph Zbukvic's "<a href="http://www.amazon.com/Mastering-Atmosphere-Mood-Watercolor-Ingredients/dp/1929834179/ref=sr_1_1?ie=UTF8&qid=1414342326&sr=8-1&keywords=joseph+zbukvic+book" target="_blank">Mastering Atmosphere and Mood in Watercolor</a>"<br />
5 stars, if you like his technique or style<br />
3) James Gurney's "<a href="http://www.amazon.com/Color-Light-Guide-Realist-Painter/dp/0740797719/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1414346045&sr=1-1-catcorr&keywords=gurney+realist" target="_blank">Color and Light: A Guide for the Realist Painter</a>" <br />
5 stars, if you like knowing how light and color work scientifically, and only then being show<br />
how to apply them<br />
4) "<a href="http://www.amazon.com/Landscape-Painting-Essential-Concepts-Techniques-ebook/dp/B0078XCLDQ/ref=pd_sim_kstore_12?ie=UTF8&refRID=12JZ2W5A77TSJCH26RN5" target="_blank">Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice</a>" by Mitchell Albala<br />
3 stars, perhaps more if you've not read Gurney's book, or paint with acrylics or oils <br />
5) "<a href="http://www.amazon.com/Carlsons-Guide-Landscape-Painting-Instruction-ebook/dp/B00DGBMGCA/ref=pd_sim_kstore_1?ie=UTF8&refRID=1J89K22QK8BYJ24RXD7X" target="_blank">Carlson's Guide to Landscape Painting</a>" by John Carlson<br />
2 stars, though there are bits I found more interesting than that<br />
6) Ron Ranson's <a href="http://www.amazon.com/Ron-Ranson-Skies-Techniques-Watercolour/dp/0289801753/ref=sr_1_1?ie=UTF8&qid=1414355507&sr=8-1&keywords=ron+ranson+on+skies" target="_blank">On Skies: Techniques on Watercolor and Other Media </a><br />
3 stars, if you love clouds and skies, less if they're not that important to your subject matter<br />
<br />
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FHYV2RSL1DLLuKzpsvkkO52oZLhje4JoqgpnXY1DXwbY50ZXHpcHfhQpIr8KJ5y3aIAtyHjVEo17cLC+1eFnT5M9/wAd1BHDwG1UcNhCW3ozENt6pyJ2tqzg3FHTDI9oMRpcKdrCi+HGmPs9xNZ/CTlEI0k1OM7Zk0hbbWua68M4x2zzM2GcuurDOUvpW7HiSd+d67zeLWOyASLEk8gPVzND8vkQWuwLEbC9FRCwO/P5b3rsg+WOjhyR4ZLAuWs+/ZJFLGRFza222x8KPQIdxsPVVfEYU91zXV4MfTVNnH5svUlaVAxGcm35DhUmHjBY6ief4UizJqZbhl3I/wBiKWTyLIqvp03eQEXv2uJ3511Ty7pGUPHfDkyHpa38ylHICP8A1UpVY6boowU1tvq/9VKVKMrQ2qMZhulQSKEJYqYotjfssFAdbc9x+NEZcckgV4VKML67cySP/dZbLl04ZUBsGVCw23Nha541DHjjEwCngKzrZlJ/o20mI7ayMbdne3eK0OAmVxcey/GvL2zIyONRqfLs1ZJLEkWPfRdCTZ6rqtSD3qDBPrjU94vUoS1aJWhW0yQMe6opTYePfXYNRyUNFxbslwk9xva9LFz6dNuJYCguYQtqV15D8alGJJ0Bhve/trly+1M7MfuZWMReVtQ2De7enzFRq7tqsZirqQVGxO5qZsKGW7DlvXnendx/s9JZEuMv6Ba4e42qPyPti3dVNXMTta5W9E8LigxBrKodHXJTirXRfTCKi7+2gObSKNlolnGIuLA1nJG1Gwp58i/GIeJib98mWMpDNKunje/qta9brWASe7bj+0aymQQ6Q7kCwFt+ZuNhRObEuzhQQACW2H599a4ZLHD/AG+jl87/AC5aXSL8WNazNYDf11WwWbM9weIv6rd9XZxpiLDtbXsBuTWUwTMrl24cLDYfjXYpOLUTkhjhOEv+CxmKkEjC9g+x3sLHjRbKIo0jdIm1hCHJ5Ajjbv2FC8zTrlZgRswsARqI7gL8yKO9HkRYdAKFwCGUG5B7m5mt290LLGLxcun1RW6ZdvAyt4R7d3nUvfxpVVz5h5FOovfzZN/+rGP9hSrXH0cMlsyeZ4d48Hh9kVWRAAouSQgJZnIvz4XtQdsIgj1aj1lhdSOPip5ADkeNNkmOZolUguFVSNidNwoJ8Bwog+PgdXSSMI6p5twDcte5D+wWFZSnTofoOrA0UFrHxrS4PJetIdfC9A8O2/C4B9/hXp+TJEY1kiBAIsQe/wAaIzUnQsmCUIqQQwSaUVe4VZvUJvbhXIc10KJzuVFgMKY2PKoS+9dg0TVIqErZzNh77XrqPDgfhUkbXqRa5bs7b1orTx9q+9u4G1UsyxfYsBe3v9W1GGW9ZXNYWS/j7qwzz4rSN/Ghylt9FVGQspbvFwRcW8auY14lPYFrE38dhQPCYk3II7Q52/CqmYY8g+2uC3uKWz144XNqV6CWZ4na9D8M1xeq+rWKsYZbKb1jJUd0Y8VRrsnw/m0JOwJYryJPDV6r/hRgJGxvt4+3lWFXGOBYE0Qy/OCg7XCuyPlLUWtHk5/Bm7kmbHSrbbWFQS4FShUDSN/x40CfpCB6ALHwH51Zjzl5F2XVfjbbhxBJ4V0Lycd6PPfj5YlDA4MR3Ym+jWYiBctrYgGx5GxAFW+j+ESIHRGNZ3YhbHUxbVqck2tt2b8OVPJKpdGcAvqHAAAKqnYcz7auZbiQVYL+yfVa4FhWqnF9ClHI07A/SBNWBnOrmlwO/rY+fGlVDH6hg8adRIMy2BsbedS+476aunF+Jy5U1KjH9HszfCaRHpOylmIDKylRcD327tqbNIXEtpNy1nB1AnQwumq3Dbl4UJw+GIhVnYAlUCrc6iCurgOA2F/WKL5ZC0oa92ZyOJFyRsNzw5e4VnOOx45tbNxkfRjDywxl5HkA3UA6AAeK6ePG+9aLLsujgGlNluTa/C54V55kuYSQExzakZRcEkC17bEHlvWpwOOEouGPjXO58H7joWOWSFro0U06gbkeyqwxiXtahvVXqGSQJxNJ+Woq7F9m26o0BRePKoJMTHY9oCguNmfSHD3HcDtWdxmYHxJPjWcvOlLSR1+P9L5bs1mHzka7Hh3iiflI25VicmNyC1Gc9xoit6hWMMmRXZv5HiwjNRQdkzAD0d6C4+QuN/Gq+XZ7HoZjwFPgpTNGzHYkki5G6kXFh6rUprJNWzLEoY5aAOOj0ScT2t6pEalYnl+dX8wkVtK6gGFV8QFCEAgnibVnG9M9eEqhKJHh4mHKifVWiJPE8Kr5fPqt3W/Kr2PJYoF+ze3ibUJW22VKT9qKkrbVxBIGa3Hwp86xqwoI7KZPSLWNgL+jvx5H2VW6NZwGxOuRV9EjSAFBsNrCtcfit+6XRwZ/qKj7Ydmiwg02AW1/Cr+GULchrXPDa3jVnCZg0kayFI0BLAKRqay9zXA/DnVabMUjJ0rFa97uxBueNhz3rR4EmqPPl5l3yQ+K7W9jccDfwty40Py7DzMHiD9WxJLE7sAdhYeNvyqTAZriZpT1YW1txp82oPM7339dc5xBNC/XOydoKpMYItpubn/nKt4xpE/dXFxSqznpE1sNPGoAEaxA7cWMqE+3h76VCM1zdVwkynUxYR3cm5YiRDc+61KuzE/acOZx5aM3jQZxEwjPZgUdlbHQiBVd+Itr7hwFQZbiUbq0YgLqGo+hZfWPZv31FhsUyYXSp3ZUDH9phYEL4DaoIsMTIqoLsRsO+wufwFDVmfKg1m8JMhZQ7RAB+sYG5VrAamPHcGx51pMh2UEc6yOBxfWKVmJYRqSiF9A4gWufXw47ca02QYgGMG4tx/8AW5rh82L4po9T6fm24voNnFWNt6qzRBiTeuzIvfUbzqBzrzOMmepGcI9M53CFaEYiC3aK3qWbP4VJ527qot0h1X832fFiK6ceDJ+hL6hhxvs02T6FQFtja+5pukmmWLY7i9ZPGdJX0kCNF22J7Z/GllGKLR3Ykm/4V1RwSirZ5ubzIzn7TgylQFttfc1CmZdW23DcX9dSYxzfkfGg+IYnlXRGNo5Yyp2WsXjdW5uamw6L5M0mo9YJNNuXVhQSx9/4GhkkbqoLAgMLqT+0L2uPC9d4PjuCRvte25Fgb70/TSVI635LbWzU5NiVKaVvqsbdnc+0eupc6meDtW30ra/KstgsZLEbobbWOwNxRHEYo4hO0dx+IrnlhSlfwd2PP7av4OsKvXpJNLdpCUWIDZVsd7+zhV6LDRR4M3mVZus1MApZgseoCPbgb793CqD4TTCtmBUNw4Nc78O6qb5iSFR1DxIxIX0WKk3KahuATc1tC/g8ryK5aCOXZzMro7X6u5VSfRufSAB293fRPGZpGsnBTqAALbgE92/Gs3n2enECNREsax3C29IDYWv3WFD/ACebSGCPoDGzaTp1Dc2PC9aPEm7OJtm1ybOJFcCJlDSuIgDxuDfUBwA8fGtPNmOGczQl9ZsjFr6rFybaRtZV0g+2vKsBhsQ7r1QkL8QFF22BuRbhsx99E8PhhFPecs1hZ99LLYAAewXFTKKiXGTekddIcyXqChKg7Hhue2p3NKhGe4V5FklcBdWkhR+ypI0jbwpq3xKPEzldljBwWSPe/ZXl/dFXHw/bDIbOCCLGxuKfLoz1af8ATT2dkVLiY1I4e7jWcnszFhsgxGJY6dAuTqAJ7IsTcDhueVWny2bCIBIQCSdt9gOd+G9cZfm8+G1CJw1xcgi7LbhVPM87lnOqV7kXABsAoPcAKmXu0zbG62jtcxNzY73op5QWhY33say8Fidq0mVgaSDbhzrLJBJaN8U23sz2BwWtv9vzq88IX1Vew0ixvKQLsQFUjgpJ7+HLnVPEyErex91/WRbkO+qbbZlxB2Ni3FqLYIAINqn6N4BJmOvSdK6lW9mY3AuBzA5nlVrFxDtWjCFdI0X4crkE7334bUsj1RWNbBmMwZ7LkebY2ve1jw38KG46AxMLFGuNS2NxpJNgfGw/GrOPe1gSSBcgG9hfjaqrRA7na6gjuO9rfnVY2GToafrpr2HZUF9K+iig72udl3vbxonlWVAoGl2UvpI/bGwJYDlseffVzIIiI3RbkMCzWvyFlFu75itguVxGd+x2Iohffd3C8xzsoHtpZnJL2lYZJ/kY6XIGE7wjdUDNrJFjFs2r2A1Zy/ApEzLIpZSpU6N7ra4ZTbhcCi+Rhn6wdWX1ppYKwBVXNjx7hUGKw8uGAZRoBBRbkGSx5HuPqrCUpNWdkai3FmcxjCNFLBtTagOFtj6+PDerXR7LZVbrFF2b6sjcHchhuLEij2cZDHGsLHbWyhle2oarG4PhR2VooUREOlQWs7b6SeN+G9aJSapHNOcIu/g81zfA+cIKgOGOvgDdjfh7zVqDD6jHE7dhSzBWayDZmbbvJAHtq1iMFCZnLYgyAdpmUEOz34KTysONCsUQBztyB3Phetdqjkc02Gej2djCo5SMNMzCxbYLGBuq8+JP4VQlxepyTpB7RJt6RO/OqWVi5JojDg1aS7khb2Nu7voeO9krM06K2a4gypKz2vZb2sNwyAXttwpVHnWA0QyEXt2fb2xT1rijURyyWythMUdEahTvGL8rDSKv4Mah38vaK0WH6JTvDFIiXYxRG1wAR1a8Kox9D8YshcQvY8Rt7+NKUWQBcRCySK6gH9nbiQe+qbR63O2+9+61bAdC8RKRdGjI31H8rA1Y/kfOo2jJPOw4nw7xU+79FqjGmy8AKlhV2HHbwrQy9FsUR9Q/upsP0axd7dQ48SLCpal+ilKjPpeMqykjfje1vGrmIx7NGQz37JsL2t7vyo1B0fxVmVsO5uptwtc8r8jU+H/+PH0dtrObdkAlV5kMefsoSY+RmcqguuxsbW9nP8aIDC2J5mny/opizI+mFkVeGokajzCkje/s4iiuH6MYho2Z0ZH2Cqd772N7XtUTxys0jJIz5wR1higNuR3B8SKeHLi5CKt73sota/to/lmQYhpCkkbJpF72JS23BuZ34eFTYzo/IpAVX772bhYA3IG25bbuNCUkiZb+QK2uBZI02uF5+iQQWX8BQ+HGyksXJBYnVy1X41oBlMwcBo306h2lUmwuN+FGek2AdmUpGT9YpstwNcQUHYbWtVVy7Qlcd2ZPBYllbsFgbWJBtt66nxk7vGEvbSQ25JOoDaxP+3jUuDy6UFi+GkdQ1rDUjdoEdnbfcVBmUEiofMYlTyGkuLnci4W52vSWJoJZuWyPB5oCVMoaRgQACxspG5bxq5muaPMQu3E25C54XNBmy2Xd+qlvz82+547C3GrZy59rRy+N0ba/sraEWjnyb6BmYYZ4TZipJ37D6gAeRolleWpLCZJZVjUEgbXZiOIHt2qrjMrdpAtn2IAPVuBb3f8AN6u4vCWQMUkAB7KBG24gG1u6paf6NEkkQQ4WGIMdbOxA5WCnmB3069kjvYb77Cokw8pItFKxPCyMbeJJG1G5+jMrOqXsSlySCQDYEi49dqaTrZFW9AHN31QSdw0/rWlVvpPlc0EDBkJGlO1GCyntrx27PtpVtDoniZ/BZnOI0tLLYIlvONbZRU4zbEf20v8AiN86HYT6tP3V/IVLWhxvsufS+J/t5f8AEb510M5xP9vN/iNVCnpWTbL/ANN4r7xN/iN86X09i/vE3+I1D6V6ATYSGfYv7xN/iGuv5Q4v7xN8ZoYKe1IdsJfyixn3ib4zTr0jxn3iX4zVGHCOylgBpF9ywUEgXIFzv7K5hhZgSovpFz4CxN/cD7qCthEdJMZ94l+Kuh0lxv3mX4qEf89ldUtlWwsek+N+8y/F/wCqX8qcaP6zL7x8qGrAxFwLglgPWihmHwkH21ECKAbYYHSrHfeZfePlXQ6WY77zL71+VBrU60WK2GR0sx/3mT/L8qX8r8f95k/y/KgxFNQOw4OmGP8AvMn+X5U/8ssf95f3L/40CFI0WxWw8OmeP+8P7k/8acdM8f8AeG+FP/GgArsUWx2/2EM66WY2SB0edip03BVOTqeQ8KVBsy+qb2fqFNVIpNiwfoJ+6v5CpTUWD9BP3V/SKloMG9jUuVWMBh+slSP7TKt+4E7n3XPsq79CnTiSSLQW0/8A5LnVt/2+16iKYtgkV0Kuy5VIiszmNQunVdxcM9yqG17OQCbU+FgjEXWyhmBcoqIwUsVALMzkGwGpeA50mCRRWkaLNlWtI5IrDrOttG0qlyUcjSlwC2wqt9GSFA/Z3XWE1r1hS19YS97W377UFUKDEx6FDq142LLp0lWuQdLhuG/MUQjzxBe6vJcsfOaeDarJt+yL/iarPkrhN7CTXYjWmlFCFi0hvZLW3udqhGVvbVqiMdr9YJV6o3NgA19yTtbjSK2i7iM3Dhl7SgjZ0FpASxJQkubpw4Ebjhyrt88BUjSCbtcMCQ6tpFms4sQAQNjyqtg8uWVUILXdniI2ss9i0P8AC47PrU1U6gCASG4ZnKoP7qL5xj6mKL6791BVhBs3GpCDIdLTtc6dSCaMIFQA2sLX5UpsepjJ9JwAiM9tZLKRJIygn9nSo3O4FPNkbrJKCkoiSN2VyhsSsYZe1axuTbaqxyafhpBbYFVdGZGN7B1B7J2IsfzpC2UKcGpYcLI+gqpIkYqnczC1xfwuKvRZI5jZ+zfRG6jrI7FXcKS5LdnbegAW1NV5MqmJYaQNJCks6Kuoi6gFjZiRvtXK5ZMf/tm5YqL2F2X0hueAtueHjSoRUFNVv6Mm1adG+nVfUujRe2rXfTbjzqCeBkYq4sRbu4EXBBBII8RQBwKe9ICnoArZn9U3s/UKanzEeab2fqFKrj0XHo5wf1afur+kVNUWD9BP3V/SKlpswfZZy7E9U+u1yFcDe1mdCob2XvVpc4NolZQVjjkjNtjJ1i6NTeIUIt+5aF2p6BXQUjzcCSWTS93v2RIBGQwItKuk6wOPKq8WLj0mNkYxFta2cdZGxAFwxFiCALgjuqlT0h8mEvpJA8BVGCwsxALAswaTXYkAflUgzOMt1jI5m6sx3DgJvGYw9it725A2vQkilagfJhyLPyskjBSOtkdjZgGCyAAhTY2YEA3sR4UyZ75wM74lwosoaRLNf00kUJYobL7qC2pCgFJl7LsxaEuVA7Q2HJJF3jdfFTw9ZpZrjRNY6dJAtYHsAEXYgW9JpGkYn+8O6qVOKRVhRM3IneYA9pWCqTsCUCi47ri9cyY6ILJ1ayrJIytclCsbCQSdiw1HcDc91Dq5pWVyDU2fFhIAirqW0dr2hdtXXOvi2t/eO6q0uOUxlNJ3igj48OpYsfYeHsofT07CwpLmMUiJHIsmlAukoVvcIFYHVtY2FjxFdYnOg7BipBEU0dgdh1lwvuFr+NBxSFFibDGBzdUiERBtYgtojkIPWF17MgKkbkH8Ko5hijI97kqFCr2USyjgNKAKNyaq04pCt0ICnpU9ICvmA823qH6lpU+P+rb1D9S0qtFx6I8J9Wn7q/pFTXqLB+gn7q/pFSmmjnk9jXpU9qVMkYmkKekKTGhrU9KnpDGpq6pLQAqVPTikUNenF6elQOxqe9KnoC2cGlTmmoFsVKuhSpDQ16cUqegZDjB5tvUP1LT0+KXsN6h+paeqRpHoAQZq4VRZeAHA8gPGpPpd+5fcfnSpVQnFWN9MP3L/AJvnTfTD9y+4/OlSoDih/pd+5fcfnS+mH7l/zfOlSpC4oX0w/cv+b50vpiTuX3H50qVMfFC+mJO5fcfnS+mJO5fcfnSpUBxQhnMncnuPzp1ziTuX3H50qVJD4oX0zJ3L/m+dP9Mydye4/OlSoHSEM4k7k9x+dP8ATMncnuPzp6VMGkcnOZO5PcfnS+mZO5PcfnSpUgpDfTMncnuPzrr6Yk7k9x+dKlQFIb6Zk7k9x+dI5zJ3J7j86VKnQcUN9LyFSLLw8e8eNKlSpjpH/9k=" style="height: 182px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 121px;" /> </b><br />
<b>Hawthorne on Painting</b> is the easiest and most "inspiring" read of the bunch. It's short (less than 100 pages), cheap, and full of really loose, conversational excerpts and quotes from lectures he gave while teaching plein air watercolor and acrylics in the early 1900's. It's worth noting that although I like some of Hawthorne's work, he's by far not a favorite of mine. He also is primarily an acrylic painter. Even so, I liked the book's breezy tone, and how it focused more on seeing the world, how to view things and compose a striking image, how to think as an artist sharing an emotion and mood, and less on specific techniques. I carried a pencil with me while I read it and marked and highlighted many things. He has the cadence and clear vocabulary of a seasoned teacher who knows what he thinks, and has learned to share it succinctly. That clarity helps to carry his opinions across the medium to watercolors (which he also talks about specifically, as well-- just less). Of the 4 new books, its by far the one I'll be most likely to reread and browse through. It's the sort of book you'll find a quote from that you'll carry with you for a long while (as well as a few you'll completely disagree with!). I guess earlier copies of the book had full color pictures that went with the excerpts-- that sounds wonderful, honestly, and with they were here, but 7$, it's hard to fault the book for what it so readily and eloquently provides.<br />
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<img src="http://ecx.images-amazon.com/images/I/518R6D8FTSL._SY344_BO1,204,203,200_.jpg" height="346" id="irc_mi" style="margin-top: 39px;" width="258" /><br />
Zbukvic's <b>Mastering Atmosphere and Mood in Watercolor</b> is a book I long wanted to read, but I never had the 300$ to purchase a used copy of the out-of-print book off of Amazon. Then I asked for an interlibrary loan, and voila! I got the opportunity. Then I read and re-read it. :) It's worth being upfront and making it clear that Zbukvic is easily one of my favorite living painters. So it was a book I was interested in reading because I love the work he produces. Compared to <b>Hawthorne on Painting</b>, this one is all about technique and composition, but was <i>well </i>worth it, IMO. Zbukvic spends a lot of time setting up and explaining his "Watercolor Clock", a really marvelous visual teaching too, and then, using it, discusses the affects and interactions of various ratios of water and pigment. How wet is the paper? How much pigment do you have on the brush? How wet is your brush? All this is very central to the best parts of the book. He also talks about the value of having a "Mother Color" and how this guides his color choices. I've actually written up a far more detailed post on the book, which I took from the notes I wrote and typed up while reading it. So, hopefully, I'll be sharing that at a later point, but at the very least, this is a book well worth reading on your own, if you can get your hands on it.<br />
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<img class="rg_i" data-sz="f" name="80kOo_qTRnFACM:" src="https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTO9zh2Ki1Kjp1C1h8s4EU7tx8BSkArJcdhVlFKPQ9wYQjehRXD" style="height: 201px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 173px;" /><br />
Gurney's "<b>Color and Light</b>" is a book I actually read a year or two ago, but it's such a great, functional, useful read, and so essential, IMO, to understanding... well... light and color, that I had to put it in this list. If I was going to buy one book on painting realistically, this is the one I'd get. It's cheap, its full of full color pics, the chapters are short, topical, and to the point with useful info. It's got a hands on approach to what it offers-- it's not about theory, it's about how the world looks when you view it, why things work they way they do scientifically, and how you can reproduce those kinds of results if you want to. It changed the way I viewed many things, which is a great gift in and of itself, but it also helped me acquire a kind of short hand for how to view and compose things for my paintings. Some stuff that it points out about how light and color work seems so obvious and straightforward now that I've read the book, but beforehand, I never would have noticed so many beautiful and interesting details that, when selectively brought into a painting, give a work a compelling veracity. Well, well worth the read. <br />
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<img alt="" src="http://ecx.images-amazon.com/images/I/51SYwYotGnL._BO2,204,203,200_PIsitb-sticker-v3-big,TopRight,0,-55_SX278_SY278_PIkin4,BottomRight,1,22_AA300_SH20_OU01_.jpg" id="main-image" rel="" style="cursor: pointer; display: inline;" /><br />
Mitchell's <b>Landscape Painting- Essential Concepts and Techniques</b> was a book that had come highly recommended, but I found a bit underwhelming, personally. Perhaps I was looking for something other than it offered, or perhaps it was how it was basically focused on acrylics and oils. Perhaps it was because I had already read things like Gurney's" Color and Light", and they shared similar info. Who knows? Either way, I got it for free from the library and browsed and read it over for a number of weeks. It was fine reading, and perhaps very good reading for acrylic and oil painters, but I think watercolorists would be better served by reading Zbukvic's book in combination with Gurney's. For free though, it was a fine way to spend some time, and many of the images are beautiful.<br />
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<img class="rg_i" data-sz="f" name="dvgMk_-XjHQIiM:" 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" 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<b>Carlson's Guide to Landscape Painting</b> is supposedly what Mitchell's Landscape Painting book is based on/ was used for inspiration/ was influenced by/ was updating. Needless to say, the two share a lot of similar info. Mitchell's is just more modern and has full color pictures. Carlson's is all black and white reproductions of art. It's supposedly to help you pay attention to value more, and it does that, but it also feels cheap. There's some good stuff in there, if you can wade through the verbage, just as there is in Mitchell's book. Some useful, direct info about understanding color and distance, skies, clouds, etc. That sort of stuff. The problem is that the book was written around 100 years ago, so the language can be dense and <i>slow</i>. Throw in the fact that all the images are black and white (even when he's talking about color, and not value), and you've got what can be a (useful) challenge. The book is available in paperback, and so it's cheap on Amazon. For the 10$, it was worth it to me. For free, from a library, I'd browse a copy at the very least, along with Mitchell's more expensive hardcover, to help you decide if you'd like to take it home with you.<br />
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<img class="rg_i" data-sz="f" name="Qs7olDL6EEmJ6M:" 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style="height: 179px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 141px;" /><br />
And, for a sense of completion, Ron Ranson's <b>On Skies</b>. I'm not a big fan of Ron Ranson's work, per se, but I ran into this book for free a year or two ago and so I read it. If you can get a free copy and are curious about clouds and skies (and certain loose watercolor techniques for how you might paint them), I think it's worth your time. It's full of lots of illustrations, which is helpful, and at the time I read it, <i>any </i>help painting was good help. It's not the best book on painting I've read-- in fact, it's super focused in it's subject matter-- but I love clouds, and it was interesting and helpful to read and learn about them, how they form and behave, and some of his wet into wet techniques for painting them.Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com4tag:blogger.com,1999:blog-3967620094494684524.post-64429999344492126522014-11-01T12:27:00.003-07:002014-11-01T12:28:34.060-07:00Getting those first 100 paintings under your belt...I was browsing my portfolio the other day, when I got sucked in to the vortex of artsy laziness and decided to count up the paintings I've saved and sort of "quantify" my growth over the last 4 years. What amazed me isn't that I've improved (I would be sad if I felt I hadn't improved atleast some!), but how <b><i>a marked increase in
recent production</i> <i>has so obviously gone hand in hand with the development of my
skills and vision</i></b>. I remember reading some advice from more
experienced painters that you need to paint! paint! paint! and that a
novice painter just needs to get those 100 first paintings under his belt. Well, now that I'm here, on the other side of that 100, I can't
agree more. <br />
<br />
Over the first 3 years, I painted about 50 paintings, total. I took two semester-long watercolor classes back in 2011, and they helped me produce work and learn basic skills. I then did some abstract work on my own, bit by bit. Along the way, I joined the artist community at WetCanvas, I researched and learned about color theory, I did my two murals, I did some digital linework, and, ever so slowly, I kept painting watercolors. Still, all in all, that's only about 1.5 watercolor paintings <i><u><b>a month.</b></u></i> I could copy an image with glazes pretty well if I wanted to, but here's what I got when I tried to compose an image of my own last October-<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjecXDYNXOJ9Kwjhl-38DzYJmW3NwbQ1GRVaf4JieCaaubQjD-SoY4hsnwkrCe5ADN8XLLHurqtsIVku6xDyn73MvMBqC8B5FwHNWT0oDUezqJL_TuwUCOFokW2T2XjnmGyygqPMCMJP3w/s1600/Last+October+painting.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjecXDYNXOJ9Kwjhl-38DzYJmW3NwbQ1GRVaf4JieCaaubQjD-SoY4hsnwkrCe5ADN8XLLHurqtsIVku6xDyn73MvMBqC8B5FwHNWT0oDUezqJL_TuwUCOFokW2T2XjnmGyygqPMCMJP3w/s1600/Last+October+painting.JPG" height="300" width="400" /></a></div>
<br />
<br />
Comparatively, I count that I've painted atleast 100 paintings in the last 9 months, which averages out to just about 3 paintings <i><u><b>a week</b></u></i>. Holy mole! That surprised me. My (crappy) math skills tell me that's a 750% increase. LOL. Here's a recent painting I did, after all that playtime-<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EwYg6sSaAf869KlYFvGBm_it5nhGRSBaqUlcq_AJxRH8nu1wGLjMfBI6-JiixnBop7VmYmoLprIW57vz49yyo_XAvC46OizqvuKBuQUJ9mgZp_OTACS6KF-AXgXUuLTBIfoBnbUopg4/s1600/Snowy+tree+websize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EwYg6sSaAf869KlYFvGBm_it5nhGRSBaqUlcq_AJxRH8nu1wGLjMfBI6-JiixnBop7VmYmoLprIW57vz49yyo_XAvC46OizqvuKBuQUJ9mgZp_OTACS6KF-AXgXUuLTBIfoBnbUopg4/s1600/Snowy+tree+websize.jpg" height="640" width="236" /></a></div>
<br />
Good teachers matter, and I've searched some out. Well written books or instructional videos matter, and I've read some. Good tools matter, and I bought them. I think they all very clearly have made learning easier. But nothing, in my opinion, takes the place of...well... the almost mechanical fact that you just. need. to. paint.... a lot. if you want to learn how to paint.<br />
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You can learn a lot from failing. In fact, you really <b>HAVE </b>to fail if you want to learn. So, I guess the goal is that I have many more failures, right? :DStephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com1tag:blogger.com,1999:blog-3967620094494684524.post-19844053312300620052014-10-17T06:10:00.002-07:002014-10-17T06:10:54.432-07:00My Bjorn Bernstrom Watercolor Workshop, pt. 3<!--[if gte mso 9]><xml>
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Painting with Water</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eanGslqKT3gH53KO592ZlpqCginiuqKGQdI9VeqvzONNpJYGDUI6J8i18ghZw6jSVHHercXKGepFxl07Q1vvHb6ez2rZE9ERqzYoV2SUUQkloWOIOcuzJX280baQBdmTGZ9GJqdRbTo/s1600/IMG_1895.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eanGslqKT3gH53KO592ZlpqCginiuqKGQdI9VeqvzONNpJYGDUI6J8i18ghZw6jSVHHercXKGepFxl07Q1vvHb6ez2rZE9ERqzYoV2SUUQkloWOIOcuzJX280baQBdmTGZ9GJqdRbTo/s1600/IMG_1895.JPG" height="300" width="400" /></a></div>
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<br /></div>
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In this final post, I wanted to share Bjorn's process for
painting wetter.<span style="mso-spacerun: yes;"> </span>I know, is that even
possible?<span style="mso-spacerun: yes;"> </span>Yep.<span style="mso-spacerun: yes;"> </span>Bjorn sometimes paints his clouds, as well as
his distant tree lines by deliberately creating back runs.<span style="mso-spacerun: yes;"> </span>He also sometimes paints reflections and
skies, even the shadowed masses of mountains, by painting very wet into
wet—using that “brush pinching” technique I outlined in the previous post.<span style="mso-spacerun: yes;"> </span>I’ll be going over both of these.</div>
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So, in these pics from the first demo, he’s leaning in and
deliberately dabbing in lots of watery pigment to the horizon line.<span style="mso-spacerun: yes;"> </span>He’s already painted the sky, which has dried
a bit but is still damp.<span style="mso-spacerun: yes;"> </span>He’s also
already cut the shape of the buildings.<span style="mso-spacerun: yes;">
</span>In this example, he’s also painted a simple wash over the foreground as
well, which is separated from the sky.<span style="mso-spacerun: yes;">
</span>He gets that water and pigment in there, bridging the two, and lets it
push. Looking at the pics in succession, you can see the time lapse element of the process, as the paint Bjorn is pushing in begins to expand into the sky and form the tree line. I've made the photos extra large, to help you see in there better.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA9TByknJS19SR4g-fzgtENT1DnisB6AQfVO-YszcduXowjehBlKpcG2ssBPq3tNaHD0q4xX5TCAldzMBFupPsyrJHNIRM-aEdIMzSoxD8SEZcVaP50i-2X-nQ7ekDZ_yKAd_1Pr0_m2c/s1600/IMG_1885.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA9TByknJS19SR4g-fzgtENT1DnisB6AQfVO-YszcduXowjehBlKpcG2ssBPq3tNaHD0q4xX5TCAldzMBFupPsyrJHNIRM-aEdIMzSoxD8SEZcVaP50i-2X-nQ7ekDZ_yKAd_1Pr0_m2c/s1600/IMG_1885.JPG" height="640" width="480" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSU62PAEcSQxKL9dkBbRMbR0HnWmdH-XT_pNrxXBelWH07bFSbaE4beCFzKqu90wMsZZiDtw0UdoXsuVFuh_2UeR1I1UYCabujH5Ff-3Bhw5BVc65keNRf9TeZ2dUl_vh2imiIX4pdZc/s1600/IMG_1887.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSU62PAEcSQxKL9dkBbRMbR0HnWmdH-XT_pNrxXBelWH07bFSbaE4beCFzKqu90wMsZZiDtw0UdoXsuVFuh_2UeR1I1UYCabujH5Ff-3Bhw5BVc65keNRf9TeZ2dUl_vh2imiIX4pdZc/s1600/IMG_1887.JPG" height="640" width="480" /></a></div>
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When you’re done, you can create fascinating treelines, with
a distinctive crinkled look that you can’t get with a brush.<span style="mso-spacerun: yes;"> </span>No two really come out the same.<span style="mso-spacerun: yes;"> </span>Add in additional color to the tree area, as the water begins
to bloom; do more water here and less there to create perspective; paint your background lighter or
darker to create a different kind of rim, etc.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Sometimes he paints over the bottom portion of the painting with a darker color,
blending the treeline into the horizontal foreground, as in these.</div>
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<br /></div>
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Sometimes he lets the boom play at the horizon line and works with it, as in this pic, on the right.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8IGJks6A-Cbq7aQRLZ9RovOY832zgO2QWq_q-FyrxZLwgbGHTV5CMpqLnWuKhcysUAAyYnueryeCj_tU_5_zDQJpi7syrWwvTBd1kab41KTmnJJ18S4VBy_0g_F1M-LGKZBxm-pIkmak/s1600/IMG_1905.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8IGJks6A-Cbq7aQRLZ9RovOY832zgO2QWq_q-FyrxZLwgbGHTV5CMpqLnWuKhcysUAAyYnueryeCj_tU_5_zDQJpi7syrWwvTBd1kab41KTmnJJ18S4VBy_0g_F1M-LGKZBxm-pIkmak/s1600/IMG_1905.JPG" height="300" width="400" /></a></div>
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Additionally, he uses this technique sometimes for clouds
banks on the horizon.<span style="mso-spacerun: yes;"> </span>This was done by
adding nothing but a single swipe of water from a loaded brush across a mostly
dry sky.<span style="mso-spacerun: yes;"> </span>It really painted itself, once
he had waited long enough for the reactions to work out properly.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNIvGmNKDdG89AX8FrPr1RFVGzzMGclT3GYjvTuIzXo-gVJsNH_RYPA1RX1vbuBBOF_q4mdda8eYFH6P1A_zTNH-6PnggZYyLToKzlF14vNypjxLG1JkX7OBmEgA4Y0N15xiJfGnOQ1Y/s1600/IMG_1896.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNIvGmNKDdG89AX8FrPr1RFVGzzMGclT3GYjvTuIzXo-gVJsNH_RYPA1RX1vbuBBOF_q4mdda8eYFH6P1A_zTNH-6PnggZYyLToKzlF14vNypjxLG1JkX7OBmEgA4Y0N15xiJfGnOQ1Y/s1600/IMG_1896.JPG" height="300" width="400" /></a></div>
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Sometimes, he used it for clouds too.<span style="mso-spacerun: yes;"> </span>This technique was very delicate, and
required a great deal of patience.<span style="mso-spacerun: yes;"> </span>The
paper has to be almost dry, and Bjorn spent a lot of time just gently touching
the paper with the side of palm, to assess just how wet/cool it was.<span style="mso-spacerun: yes;"> </span>Too wet, and the water you lay in just
explodes everywhere.<span style="mso-spacerun: yes;"> </span>Wait too long, and
it does almost nothing.<span style="mso-spacerun: yes;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumg9T-78uFCjVZlRCSy0uE7lIEV9azqkFIICKLSK0TjdQMbI1dMmHK3hfEz-MdktHwy2LQXdForireQxO4xChA_ZayaMFAFA5XnjEuwtc8BaSa0B1qc5Ft2evIZOrr0pxPyVSyzNzxZ4/s1600/Bjorn+backrun+clouds+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumg9T-78uFCjVZlRCSy0uE7lIEV9azqkFIICKLSK0TjdQMbI1dMmHK3hfEz-MdktHwy2LQXdForireQxO4xChA_ZayaMFAFA5XnjEuwtc8BaSa0B1qc5Ft2evIZOrr0pxPyVSyzNzxZ4/s1600/Bjorn+backrun+clouds+closeup.jpg" height="167" width="400" /></a></div>
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His quote that “The hardest thing for a watercolor artists
to do is to be patient.<span style="mso-spacerun: yes;"> </span>You must learn
to have patience, even when it’s boring” was dead on.<span style="mso-spacerun: yes;"> </span>I tried this some during the workshop.<span style="mso-spacerun: yes;"> </span>My results were less than satisfactory.<span style="mso-spacerun: yes;"> </span>Hahaha!<span style="mso-spacerun: yes;">
</span>Eventually, I stopped trying to paint “pictures”, and just worked on
technique.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ttXl266wyPjdwQIviIhB8qsl9EQWFtxR7TowqBfwB1ncPwtyrF3wJhLk5P91hLCwUSgWC9AJFD157mCk7R2X_8tfSbzdhFgUHNNiX_Q4tBiM_m4MV00cAGGs1SBR_HFqAyfHxf3NHao/s1600/IMG_3425.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ttXl266wyPjdwQIviIhB8qsl9EQWFtxR7TowqBfwB1ncPwtyrF3wJhLk5P91hLCwUSgWC9AJFD157mCk7R2X_8tfSbzdhFgUHNNiX_Q4tBiM_m4MV00cAGGs1SBR_HFqAyfHxf3NHao/s1600/IMG_3425.JPG" height="240" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VoDZC7K0BAfFe8snK5QaNcW1VHa89iH_CE0ums3vVGvKEMZOC2sd7Yj31_908zy7V75Vrb0BPCe54M4g-t1PZQCnnwC_eOFeisFfbcSUi7yu66PrtBCxzW_erbk9XfQSJMKI0B6V4ys/s1600/IMG_3426.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VoDZC7K0BAfFe8snK5QaNcW1VHa89iH_CE0ums3vVGvKEMZOC2sd7Yj31_908zy7V75Vrb0BPCe54M4g-t1PZQCnnwC_eOFeisFfbcSUi7yu66PrtBCxzW_erbk9XfQSJMKI0B6V4ys/s1600/IMG_3426.JPG" height="240" width="320" /></a></div>
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The other thing I wanted to show a bit of was how he would
pour, super wet into wet, also using the “pinching” technique, with more
diluted solutions in his brush.<span style="mso-spacerun: yes;"> </span>He deliberately did
this when painting these mountains, which were from another
demo he did for us.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQFWI9pmK4DyN_ZfD-57yCDX0yVVsZrjGdGbPwRBbQ-Dg4HwQ7wzZVELYkRy1xA4PdX6jtugUeTkmmmtuDZBECG9EKeiqTBhKPMrNxkejDBlVwQBrJNqtNFv6C-8mI_mss_FSxE2l3EY/s1600/IMG_1901.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQFWI9pmK4DyN_ZfD-57yCDX0yVVsZrjGdGbPwRBbQ-Dg4HwQ7wzZVELYkRy1xA4PdX6jtugUeTkmmmtuDZBECG9EKeiqTBhKPMrNxkejDBlVwQBrJNqtNFv6C-8mI_mss_FSxE2l3EY/s1600/IMG_1901.JPG" height="300" width="400" /></a></div>
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He put in the first light washes, to mold the
mountains' surfaces.<span style="mso-spacerun: yes;"> </span>Then he dried it with a hair
drier.<span style="mso-spacerun: yes;"> </span>He came back in and cut the shape
out the mountains with a wash for the sky, pulling the wash down to the valley
between the two peaks. While it was still wet, he poured the purple streaks
across the sky, keeping them very horizontal by aggressively tilting the board
from one side while applying the paint (“painting with gravity”), and then
“pinched” in the darker color between the peak.<span style="mso-spacerun: yes;">
</span>The he titled the whole thing vertically and let it soften, as the paint dropped vertically.</div>
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Similarly, for the reflections and disturbances in the
water, he painted the water after the mountains were done and (I believe)
dry.<span style="mso-spacerun: yes;"> </span>Then he dripped in pure water with
his brush while the blue-green was still very wet, and let the water push down
the page. He did similar stuff for stripes on roads and what not too- rather than preserve the white, he would paint away, and then, when it was drying, he would swipe in it with a thin, wet brush, and let the water push the pigment away a little bit.</div>
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Wonderful stuff to watch.<span style="mso-spacerun: yes;">
</span>It was so much fun to see someone really playing with pigment and water
in such an abstract way, and yet have enough control and forethought to still
be producing work that you can really read.<span style="mso-spacerun: yes;"> </span></div>
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Bjorn speaks English, and teaches workshops, some in
Stockholm, some in Norway, one in Tuscany too, on an annual basis it
seems.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span>I’m hoping we’ll eventually get him out to California, in the Bay
Area.<span style="mso-spacerun: yes;"> </span>That’s the kind of stuff the
California Watercolor Society is all about, right?<span style="mso-spacerun: yes;"> </span>I’d be game!<span style="mso-spacerun: yes;">
</span>Can’t recommend the guy enough.<span style="mso-spacerun: yes;"> </span></div>
Stephen Berryhttp://www.blogger.com/profile/05530106458153224137noreply@blogger.com2