The image below is a set up I created in my studio for a class demonstration. Computers are a helpful tool for cropping photographs providing visual variations for future formats and compositions.
Below the images are square/ close up/and smaller rectangle that emerged from the cropped original photograph.
Demonstration on Paper
The demonstration is on A’rches CP 140# paper using transparent and a few opaque watercolors. Pigment was applied to damp paper in a direct approach to create soft edges. When paper was dry darker values were added creating hard edges bringing the painting to a finished state. The image size is 15 x 22.
Watercolor on Canvas
This image is a 16 x 20 canvas using the same reference set up with the exception of an added object. The paper is 15 inches wide and the canvas is 16….just one inch in width made a difference in the composition. To maintain unity a red clock shape was chosen for the left side adding balance along with repeating the red flower pigment. The background is darker than the paper image which demanded a light value on the left side. The white face of the clock provided that quiet value. Below is the canvas painting….
Do I have a favorite? No! Watercolor paper or canvas each have their own identities. Paper absorbs water and pigment with permission to glaze over dry washes…..canvas likes to be left alone. Pigment lays on top just daring any wash to disturb the fresh painted canvas.
Below are paintings using watercolor canvas…students have two options…paper or explore watercolor canvas….or both….
This was my demonstration last week in Lamesa…with a symmetrical format. Symmetrical paintings are all about balance…formal or informal. This is an informal motif because it is not a mirrors image. Balance is the key in all paintings but it’s most important with a symmetrical format. Asymmetrical is much easier for me because I like ‘stuff’ in my paintings. Most of us recognize when our paintings list to the left or right like a boat about to capsize. Adjusting shapes within the composition can be hazardous to your composition. Balancing the painting as a whole is the goal. Shapes are made larger, smaller, louder, quieter, softer disregarding the reference you are working from….hope you enjoy Paint Bucket Daises…
Everyone was ready for line painting in Lamesa…unfortunately I forgot to remove my camera from my bag, DUH!! thus don’t have photos of the finished paintings that were critiqued at the end of the class…Everyone did exceptional work from their sketches and drawings. Below are two quarter sheets of my demonstrations which paled in comparison with the quality of work produced. My hats off to the eight of you who took the challenge…..
Color passages of warm and cool mixing together dominate the painting. A flat bush doubled loaded with a cool and warm indicate figures under the tent. When this wash of clean colors is dry a rigger brush with a dark value is used to redefine the original sketch…..done!!
Red and turquoise are two of my favorite colors. They make an appearance in most of my paintings. I call these colors gaudy and use them as compliments. From the start of my painting experience color was more attractive than water…’watercolor’. This canvas was painted free hand….after the underpainting was applied using a 1 1/2 brush and saturated color one stroke lead to another and a pot emerged……then a few leaves….why not a fence. I don’t began all paintings throwing caution to the wind…..which in West Texas this term is not used lightly….but it is a challenge to draw with a brush thinking shapes.
Try it on paper or any surface well I can think of a few surfaces you might want to stay away from…..like your neighbor’s dog. Have a great paint day….JB