Wednesday, 23 May 2018
Tuesday, 22 May 2018
This week we were continuing with our misty river and house scene, the object to control pigment flow, and along the way to understand about making choices concerning tonal value, see colour wheel
|In this colour wheel we can see that the tonal value ( grey and black segment ) relate to the tonal value of each colour, in that they don't appear lighter or darker than the colour adjacent to them.|
|We had a choice whether to make our trees as black as the ones in this photo, remember we are creating a painting and not always making an exact copy of what is in front of us|
|here are my own colour choices and below student exercises|
Wednesday, 16 May 2018
This week we were focussing on sharpening up our technique of controlling pigment flows we can represent areas of high definition like the boats, and low definition like the sky and medium def like the bank of trees, all within the same wet in wet wash, we need to be able to do this so we can control all pigment flow with any painting we do.
I chose 2 paintings to alternate washes with, both very similar so we could repeat each technique we learned
|1st wash on the sea scene without centre boat painted in.|
|previously painted scene with centre boat painted wet on dry to indicate it is in the foreground and therefore higher definition than the background boats, we'll do this next week.|
|We practiced making marks with wetter and dryer brushes to see how fine a line we could make with a dryer brush, in this way we are understanding about flow control|
|2 boats on a misty river|
|We practiced a hard and soft edge, by applying a clear wash, then applying pigment to the top of that was overlapping the clear wash and pushing the pigment into the dry paper to create the boat and figure shapes|
Tuesday, 15 May 2018
|Layer of background hills|
We left the hills wash to dry then added dry brushstroke trees into a body of wash bleeding into a clear wash below so that it was soft edged at the bottom creating the impression of a tree rising out of river mist.
We alternated washes with this a painting from this photo of a house in Shotesham, I chose this because when we go out painting local scenes it's important to know what makes a good composition, and also it's a dull day shot, and I wanted to illustrate how to make a dull day look interesting by a choice of colours and good composition.
Here is a painting demonstration I did years ago of a dull day scene, where all the colours were a flat
dull green in real life, but I added a triadic colour combination of yellow green violet and orange red,
|colour harmonies have been worked out by artists over centuries to show us what colours work well together, in the same way vocal harmonies sound beautiful with the right combination.|
Here are some student results which show an ability to paint wet in wet whist keeping surface water consistency, apply pigment at the right water ratio to make sure the pigment only travels in the required area, mix colours both in the palette and on the paper to create an interesting variation of colours, and it shows an understanding of how to use complimentary and triadic colours, we are now beginning to understand and demonstrate how to put ourselves in the driving seat when choosing a subject to paint and the colour choices we want to make, well done yous lot : ) we will continue with this next week.
Here are some other local ( Shotesham ) views which have the potential IMO of making good compositions, we discussed in class how the footpath is a good compositional device to draw the viewer into the picture, and guide the viewer through the picture plane, see the paintings below, and whilst these don't all have obvious footpaths, they have the potential to be added, and also to be removed or re arranged, as in the red telephone box in the photo below, which dominates far too much
Tuesday, 8 May 2018
|here is my finished big tree again.|
|And added smaller colour shapes, but in my case I kept the smaller colour and tone shapes lighter so they wouldn't interfere with the simplification of the big colour and tone shapes|
We drew up our painting and applied the 1st washes wet in wet ignoring the trees, as these are hard edges which is not possible to do wet in wet.
We will continue with these washes wet in wet on dry next week, but in the meantime, please practice your application techniques
|my finished piece on the day|
|the example pre painted we are using on the day|
First here is a breakdown of the building up process of this painting and these are the viewpoints from the artists angel
Here are some student nearly completed pieces
Here are some examples of semi abstracted paintings