This is my painting First In Line chosen for first place in the West Texas Watercolor Spring Show. The quality of paintings entered in this show where exceptional so I was quite surprised when notified. An accomplished and master painter, Jerry Yarnell, judged the show. His teaching can be seen on PBS. Instruction books and DVD’s are available on his web site. It was certainly humbling to be chosen in the winners circle.
Thank you Jerry Yarnell….
It has been way to long since my last posting. Not because brushes and canvas were on stand by, electricity/water turned off or a studio melt down…well there was that one day. The current studio scene…painting discords overflow in the trash, stacks of maybe’s in the bin and a messy wet palette….no question someone has been working. Will someone identify themselves because help is needed… not more supplies. Like most artists, ‘most’ used loosely, it seems there is more to do in a day than hours permit. So thought I would share a quick demonstration born out of the chaos. Generally speaking a brush is wet everyday except when priority calls. The demonstration below is on a 11 x 14 stretched canvas. A quick response to a photograph in my files of many waiting to be painted. A yellow ocher watercolor stick was my choice for drawing.
watercolor stick sketch
My beginning is a sketch rather than a drawing. This gives me the freedom to change direction while laying in color…
Ultra Marine Blue/Raw Umber Violet/Cerulean Blue/Quinacridone Burnt Orange are the pigments used for the first washes. My attempt is to paint the value needed for the finished piece from the first wash of pigments. Reason being the first washes will lift from the canvas because the pigment remains on the surface. Paper absorbs pigment so glazing is effective.
Defining the subject
Halloween Orange/Andrew’s Turquoise/Naphthol Red are added to the palette to mix and mingle with the first pigments. I enjoy seeing the pigments engage conversation with their next door neighbors. At this point I am ready to stop and say ‘fini’ but the painting needs line.
Few dark marks for windows….lines to separate or connect…a quick touch of pure pigment and it’s done….or at least it is done for me.
Hope you enjoyed the journey…thanks for participating.
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….