Paint what you know:
I know that seems to be my common theme. However, I don’t think it can be said enough nor often enough. My point is simple. You are unique. Even if you have an identical twin no one sees like you do. No one thinks like you do. No one reacts in the same way to those things that happen around you. In short, your greatest asset is your unique individuality. To be certain all of us have shared feelings and shared viewpoints. In spite of that; your reactions are largely personal. While some may not see it our individual traits are our strongest asset. I am reminded of two very powerful events in my life that support my belief. When I was very young, about 14, I was admitted into the Famous Artist School, in Westport, Connecticut. It was my first experience with distance learning. I was absolutely amazed at the ability of the faculty. I recall submitting a project that was heavily influenced by one of my idols of the time. When my critique was delivered it was a sharp rebuke. It read something like this, ” I see you were heavily influenced by a particular artist, etc.,etc.,…in short why in the hell do you want to copy someone’s mistakes?” Mind you this piece was influenced by a very famous, extremely talented painter!
Many years later I had the privilege of training for 25 years with Saiko Shihan Oyama of World Oyama Karate. Over a period of years one fact was replayed over and over again as young and old students would be demonstrating their knowledge of kata. Students would get nervous before and during promotion and they would glance to see what movements their neighbors were making. Almost always the neighbor would be doing it wrong! What is my point? Be yourself. To quote Shihan, ” If you make a mistake make it DYNAMIC!” Have the courage to stand on your own two feet and follow your heart. Sheeple get led around and never break out of the herd.
While I stress individuality I do not stress it at the risk of producing quality. Learn the basics first. At the same time feel free to break out and explore. In the realm of exploring this small piece was produced on a French handmade paper that is well worth your time and effort. This watercolor was painted on a paper from Ruscombe Mills in France. I love the quality of the paper and the color hold out. I really have no complaints. You can find it by doing a search for Ruscombe Mills.
However, I will give you a caution. READ the instructions that come with the paper. It will tell you to soak the paper and then mount it in order for the paper to smooth out. After all, this is handmade and it comes out with some ripples. At first you may think the paper is a bit thin or at least thinner than a number of commercially produced papers. Don’t let that fool you. This paper is strong. My first attempt at stretching resulted in disaster. I drew in pencil upon the paper and put the sheet in a tub of cold water. Since the paper felt lighter than other papers I placed the staples fairly close to the edge of the paper. While the paper was still very wet I washed in some Winsor and Newton Rose Dior and some random swatches of ultramarine blue. The very wet paper allowed the color to cascade down the sheet as it sat at an angle on my board. I left the room in anticipation of painting the next morning. That would give the paper time to dry and I would resume the process again.
The next morning arrived and as I walked into the studio I could see that what I had judged to be a thinner than usual watercolor paper had the strength of a Goliath! The wire staples had pulled loose from the plywood mounting board, while some had ripped through the paper. The result was a wrinkled mess. I was fresh and relaxed and realized that I had misjudged the strength of the paper. I removed all staples and plunged the paper back into the a cold bath. After it soaked for about 10-15 minutes I placed on my mounting board. This time I positioned the staples at least 1/4″ from the edge of the paper. The sheet dried with a beautiful taut flat surface.
This paper doesn’t disappoint. I’m glad that I bought several sheets. The washes in this painting are all transparent colors. I very rarely use opaque color and when I do it is for special effects only. The glazing techniques I employ do not produce vibrant color if you use opaque paints or body color. Those approaches block the light and kill the vibrancy of the washes. The surface of the Ruscombe paper I am using produces clean sparkling color. It takes dry brushing and seems to be open to washing back or lifting color if you desire. The paper holds a wide range of values with ease. The surface is tough enough to allow for scraping. I can say that this will be one of my favorite papers. Try it . I think you will like it. As I sit here and write this I am already making plans to visit a nearby orchard. More about that later.
Coming in May at Artists on the Bluff, Bluff Park, Alabama
While this is a watercolor site I want to share a first with you. Coming in May at Artists on the Bluff, in Bluff Park, Alabama my son, David, and I will be having our first joint father and son show. The art center was once an elementary school that has been refurbished as an art center hosting individual studios as well as new class rooms for teaching artists. One of those new studios will be for my watercolor students.
Want to know more about watercolor glazing techniques? You can purchase Mastering Glazing Techniques in Watercolor , Volume I by Dr. Don Rankin at http://www.createspace.com/3657628
Learn from a DVD entitled The Antique Shop that features Don’s approach to painting on the scene at http://createspace.com/350893
Study with Don Rankin On-line. Approximately 2.5 hours of watercolor instruction that allows you to work at your own pace in the convenience of your home. https://www.Udemy.com/mastering-glazing-techniques-in-watercolor
Study watercolor with Don Rankin. For more information contact Ms. Linda Williams at Artists on the Bluff, Bluff Park, Alabama 205-532-2769
Looks Like Snow
Watercolor (22″ x 30″) 300 lb. Lana
Hopefully the color looks very rich and lively as you examine this painting example. Creating vibrant color that is almost as intense when it is dry as when it is wet led me to explore glazing for effect. The real story began with a man by the name of Rex Brandt. Neither he nor I were the first to adopt this approach to watercolor but he planted the seed that enticed me.
As I have stated before glazing doesn’t have to be tedious nor extremely laborious. It can be, if that is what your vision requires or it can have spontaneous effects as well. If you look closely you will see wet ‘n wet techniques coupled with some dry brush and some careful detailing. Each technique is orchestrated to create a special effect for a specific purpose. Once again the main rule is to allow previous washes to be completely dry before the next wash is applied. In this attempt there are no opaque paints, no masking agents; just simple layers of one color over another.
The list of paints used is very basic. The yellows are M.Graham’s, Gamboge, and American Journey, Indian Yellow. The blues are American Journey, Joe’s Blue and Holbein Marine Blue. The reds are American Journey Fire Engine Red and Winsor & Newton Perylene Maroon. The portions that appear to be black are an optical black created with almost equal mixtures of the maroon and Joe’s blue. The bottom line is you don’t really need a boat load of colors to get strong effects.
The Foundation, choosing complements
The genesis for this painting was a sort of remembrance. I was in the Cumberland Gap a number of years ago walking the old trail to the Gap with a number of my relatives. The sleet was beginning to sting a bit and the air was cold and crisp making it easy to imagine what it was like for my ancestors as they trekked through this area. The chief was standing gazing at the sky with his blanket folded over his hands and arms. It was a natural. I began the painting with an under painting of red and blue.
At this stage the colors are Holbein Marine Blue, dilute Fire Engine Red and a touch of Perylene Maroon. Reds can be tricky so at this stage they need to be dilute lest they bleed and sully the colors that come later. The Marine blue is lively and helps boost some of the later applications of color. By necessity, the under painting is pale. However, primary features are established as well as major folds and shadows. Keep in mind all of these elements are still fluid. By that, I mean to say that stronger washes can over ride or modify any of these preliminary strokes.
At this stage several layers of yellow washes have been carefully applied and the figure is now defined by the additional surrounding colors. No additional work has been done to the red/blue under painting on the figure. The effect is heightened by the use of complements to help set the stage for the final work to come.
A Clear Path
If you take the time to study the beginning under painting, then the color addition, as well as the final piece you should see the path. Everything is rather simple when you look at the layers. Allowing colors to blend wet into wet and then polishing some areas with careful, deliberate brush strokes helped to create a unity. For some individuals winter is drab. For me, it is invigorating and full of rich yet subdued colors. The range of greens, oranges as well as rich reds all sprang from the selection of a few colors.
When you have an idea or inspiration; make a plan. Without a concept or destination your journey is futile. Allow YOUR senses to direct you. As you follow, remember the basic rules of color.
I have been under a very demanding schedule and recovering from the adverse effects of an auto accident. The weather man says our temperatures will drop in the next few days. There is a stand of beautiful old gnarled trees not far from my studio that beckon me. Hopefully, I’ll be out doors for some plein aire work. I hope to post that in the near future.