The Orchard 20″ x 16″ Ruscombe Mills, Cold Press watercolor paper
This is the latest effort to capture the beauty and the mystery of this orchard. I confess that as I age I take more time to hit upon a subject. I want to soak up the subject and then attempt to interpret my feelings for that subject. Compulsion? Yes. Yes, I paint the things that compel me to paint. Sometimes they nag at my mind much like a gnat or a fly often worries you when you are outside. Finally, at some point you just have to do something about it! Perhaps some will take offense at my analogy but that is the best way I know to describe my experience. I offer this analogy because I am accustomed to getting inquiries from interested parties wanting to know why or how I choose subject matter. Well, I don’t choose. I really believe it chooses me! Illogical? For some perhaps, but for me it makes perfectly good sense.
I grew up in a rural area; barns, livestock, orchards and woods were my everyday existence. These days I find myself appreciating those “good ole days” more and more. I don’t see it as escapism. Instead I see it as paying homage to the wonderful experiences I have been provided. There is something wonderful about being surrounded by nurturing plants or trees in a garden. There is a freshness there, a promise of life.
For this subject I chose to use a multiple colored under painting. The blue is Holbein Marine Blue, the green is M. Graham Sap Green, the red is Winsor & Newton Perlyene Maroon. A careful examination will reveal the location of each color. The early strokes are preliminary shapes. Many of those shapes go through modification and improvement as the painting progresses. At any rate, they provide a foundation for location of painting elements but even more they act as a guide to elements of composition. At this stage everything is very fluid and can be modified by stronger washes. While there are a few small spots of intense color most of the washes can easily be modified. So at this stage I have a combination of light and dark as well as the movement of light. The stage is set. I confess that I spent more time on the under painting than I did on the rest of the painting. I’m not totally sure why I allowed this to happen. I would like to think that I was planning and composing the final work in my mind. There are some pencil marks, outlining a few limbs. However most of the work consists of painting negative shapes and allowing those shapes to suggest limb placement. Tedious? For some people the answer is definitely. However, if you are in love with your subject and you are compelled to capture the essence then, no, it is not.
The Beauty of Freedom:
At this time we have not completely lost the ability to choose our personal painting path. I always advise students to learn all they can from various sources; then do the hard work of allowing YOU to shine through your work. Easy to write, often very hard for many to accomplish. Use what works for you.
For a while now I have had online classes on Udemy.com. The Orchard will soon appear as a new tutorial on watercolor glazing techniques. We are currently editing and hopefully it will be posted rather soon. If you would like to take a peek you can check the Udemy.com site. As of today we are editing so it should be ready in a week or so. I hope I don’t regret being optimistic!!
Want to know more about watercolor glazing? You can order Mastering Watercolor Glazing Techniques, Volume I by Dr. Don Rankin at http://www.createspace.com/3657628
The Antique Shop, a remastered classic now on DVD is a step by step demonstration of Don’ s use of the glazing technique as well as tips on selecting and composing the scene. Available now at http://www.createspace.com/350893
Study with Don Rankin at your own pace online at Udemy.com Over two hours of short tutorials on the basis of watercolor glazing and brush technique. https://www.Udemy.com/mastering-glazing-techniques-in-watercolor.com
On going watercolor classes with Don Rankin every Thursday, except Holidays, at Artists on the Bluff, 571Park Avenue, Bluff Park Alabama 35226. Contact Ms. Linda Williams for details. http://www.artistsonthebluff.com Telephone 205-637-5946
UPCOMING WORKSHOP: June 20-24 Cheap Joe’s Art Stuff, Boone, North Carolina
Contact Edwina May for details. http://www.cheapjoes.com’art-workshops
The Tunnel, to be featured in Level II on-line Udemy course
Sorry for the delay in posting a new article. Health issues have intervened but I am now back on track…for the moment. My on-line course with Udemy.com is attracting students. In fact, we are about to launch “Level II”. It will be an on-line tutorial of one painting from start to finish. The drying time has been removed but the basic critical steps are recorded. While it is not productive to record every step we have sought to preserve the key moments.
Subject matter: Process and Purpose
As I have stated before everyone is unique and we approach our work in different ways. No one can truly be anything other than themselves. While we may admire the work of others and often be inspired; at the end of the day we need to find our own way of working. There is no question that we can gain valuable insight in process from observing the works of others. However, the bigger question is to what purpose do we observe and absorb? Various writers have elaborated upon these two words noting the intertwined relationship between them. Consider it simply as a part of developing a painting or completing any task. Perhaps you would prefer to call it putting ideas into action. All successful art has a concept. It may be the play of light upon a given object or the interplay of a selected color range. Once the art concept is conceived, if it is to be realized, then comes the necessity or process of developing it. This is one of the reasons I always encourage my students to develop sketches with loose color studies. The ones that follow the advice have a greater success ratio than the ones who don’t.
Why do they have a better success ratio? I think it is because sketches help get the process started. Putting marks on paper begins the cycle that brings us forward in the march to realize our goal. This previous statement is only valid provided the person making the marks has some idea regarding design, color harmony, etc. I interject this because regrettably we have too many voices today espousing “do your own thing” without any regard for basic fundamentals.
This is a painting that I have been sketching and thinking of for several years. As a youngster, I was accused of being impatient with a tendency to rush things. I received excellent instruction from gifted masters about how to develop a painting. As a youth I ignored the advice. I wanted to paint! I didn’t want to fool around with boring sketches, charcoal studies and color value studies. So I just jumped right in. Then I would lament that my painting didn’t work out too well. Finally as I got a bit older I learned to take one teacher’s advice. I was verbally spouting contemporary art theory when very abruptly I was told, “Shut up and paint!”
I have lived with this subject of this painting for 23 years. I have lectured, sketched and done quick watercolor demos for students on this site in all sorts of weather. While teaching, my focus has been on teaching my students; leaving little time for a deeper personal on site exploration of the subject. There have been a few quick watercolors of various spots and numerous plein aire demos in relation to class. Now I am gaining the time to really develop some serious pieces.
Why name it The Tunnel?
Great question. The open space is a gathering spot on campus named Ben Brown Plaza. It is a popular gathering spot for students and makes a logical location for various events. The large building is the Harwell G. Davis Library with a slight hint of Reid Chapel off in the distance. The beautiful oaks form a canopy along the sidewalk with wonderful shadows and playful light hitting the ground as well as the people and the buildings. In this piece the tunnel is not fully realized but come spring and full summer and it will be a different mater. I have work on progress that depicts that tunnel effect more strongly. However, for most of the students if you mention the tunnel they know what you mean. Hence, the title.
Preliminary under painting:
This is the foundation. Take note of the various colors and their position as well as relationship to one another. As the work progresses these colors will play a stronger role in the painting. Do note that some of the passages were executed in a wet ‘n wet technique while the washes with sharper defined edges were painted directly on dry paper. All of these techniques can be used in glazing. I have left the edges of the paper showing so you can see the staple marks. This is how I mount my paper to a 3/4″ marine plywood board to prevent the paper from rippling. Yes, unfortunately even 300 lb. paper will buckle these days. My plywood boards are quite old and I sealed them with marine grade varnish over 30 years ago. Some prefer to use gator board and that is fine. I see no need to toss out something that still works for me.
The colors I used were Andrews Turquoise by American Journey, Winsor & Newton Permanent Magenta, M. Graham Gamboge, Holbein Leaf Green, 300 lb. D’Arches cold press watercolor paper full sheet,and a 2 inch showcard sable flat brush, with assorted Winsor & Newton Series 7 rounds.
The Tunnel 20″ x 30″ watercolor
The final piece. Very little activity on this day. It was very cold and few people were stirring. Other pieces will probably have more people.
Want to know more about watercolor glazing techniques?
The revised, updated edition of Mastering Glazing Techniques in Watercolor, Vol 1 by Dr. Don Rankin is available at http://www.createspace.com/3657628
Watch and learn about watercolor glazing techniques from Don Rankin. This is a perfect companion to the book.
Mastering Glazing Techniques in Watercolor https://www.udemy.com/mastering-glazing-techniques-in-watercolor
Classic video tutorial The Antique Shop, a remastered classic favorite now available on DVD
The Antique Shop http://www.createspace.com/350893
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.