on my archway with
figures project, I set about this week to add more
value and colour to the work, initially focusing on the right hand
I put on quite a bit more colour on the right wall, mainly QBO with a
tiny bit of French Ultra dripped in. I also added much more colour in
the overhanging foliage, although it also is starting to muddy
up. I removed most of the paint on the fence in front of the couple and
repainted it with Aureolin to get the glow. I plan on glazing the fence
later on to cool it and weather it a bit more.
Here I've glazed over the bright wall on the right, and sponged out
some of the glaze. This is more to my liking. Also put in quite a bit
more colour in the archway. Removed some of the paint from the fence,
it was a bit too intense.
Getting a bit more done, the overhanging foliage is better now, took
up a little bit more paint on the right wall, getting it's texture
back. The shadow on the left wall is working much better. The shadows
on the ground are way too purple/red, need to go back in and make them
blue-grey. Still a ways to go on this one. Still loads of work to do
I think (hope?) that I've nixed the man's black mitre hat.
Your C&C are ever most welcome and appreciated! Thank you!
Today's work was an archway with a couple of figures. I was originally
going to try it in Don Andrews' style again, but decided to go a little
bit differently with this one.
Don's style has bright, vibrant hues, especially with his figures. This
seemed to call for something a little bit more realistic for some
- paper: Arches 140lb cold press 12x9 - paint: - DS Quin Burnt Orange - W&N French Ultramarine - DS Sap Green - DS Aureolin - DS Permanent Rose
I rather like this start, except for the shadow from the arch on the
left side; my arm jerked as I was trying to paint a straight edge and so
it bowed out. Really don't like that.
I should have done something different for the
left figure, the woman, and not given her a black sweater as in the
photo. Too literal :sigh: I should have done something more colourful.
Also not liking the archway much.
I do like the right side wall texture, and a lot of other aspects. I'm
also pleased with the window on the left wall.
It needs quite a few more values, though. I probably started in on the
details too early.
- paper: Cotman Water Colour Pad, 10x7, 140lb cold press
- DS Phthalo Green
- WN French Ultramarine Blue
- DS Aureolin
- DS Quin Burnt Orange
- DS Rose Madder Genuine
This is (yet another) redo of an image I was working on last year, where I was getting quite frustrated with showing the waterfall. This is a wee bit better, I think. Today's effort was about an hour.
Contrast with last year's attempt, which went on for days, it seemed:
Today, we studied the style of Don Andrews (http://www.donandrews.net/) since our teacher was taking a workshop from him. His style is exceptionally wonderful. He has a "found colour" technique that works really well, although I didn't find any new colours here at all. :) It's W&N French Ultramarine, DS Phthalo Green, as well as a mixture on the palette of Phthalo Green and Phthalo Blue to get a neat Turquoise, which I didn't know how to make.
Up or out?
Watercolour on 140lb cold press 9x13.
Watercolour on 140lb cold press 7x10.
The black used for both paintings is an even mix of Windsor-Newton French Ultramarine and Daniel Smith Quin Burnt Orange.
Art » WC Brooklyn Bridge
Ink and Wash painting of the Brooklyn Bridge
I had asked our teacher to go over some ink and wash techniques with us. Instead she showed us outlining as a means to "rescue" a painting we weren't happy with. I read about this technique in an issue of Watercolour magazine last year, but it wasn't really what I wanted to work on, so I struck off on my own.
The source image came from an old calendar. It has lots of spectral qualities, which is probably the main attraction of the image as a photograph. I was struck more by the structural elements of the bridge, the skyline against the horizon, and the diagonal parking area.
I was initially pretty pleased with how the inking turned out. I used a Sharpie writing pen, rather than my usual Sharpie markers. The ink was drying out with the near constant use on the very absorbant watercolour paper, so it's not nearly as I'd have liked it. Still I do like the way things look at this point.
First Wash: Sky
Second and Third Washes
Darken Elements, add some details
Fourth Wash: Deepen Values
Redraw Bridge: Better Perspective
I'm hoping I can manipulate the bridge deck to return some perspective to it and make it actually look like it's moving into the picture.
Started a new project today, a snowy church with trees around:
Project Start: 2012-11-14
Other people in the class had been working on this piece a few weeks back, when I was working on the waterfall. I finally decided to put that aside and work on something else.
I decided to forgo looking at the source photo at all, and do this entirely from my own thoughts and feelings. I sketched up the basic shapes of the church, steeple, windows, ground line and trees without any guides, save the 3x3 matrix. (I still need to get those lines erased.)
The instructor said to start with painting in a graduated wash of raw sienna starting from the ground line and going up, lightest part on the top of the page. I didn't have raw sienna, so I used quin gold instead, which I am particularly happy with. I wish I had gotten a picture of it while just the gold wash was on it, but sadly, my phone was dead.
The next was to put a blue wash from the top down. I used french ultramarine tempered with a bit of cerulean blue. I tried to wait until the previous wash was completely dry, including running a hot blow drier over it, but I think the paper still had a tiny bit of moisture in it, since the sky wash didn't come out as neatly as I'd like.
While the sky was wet, I started to paint in the background trees. Unfortunately, the sky wash dried rather quickly and so I didn't get the bleeding I wanted all around.
(Cross-posted from a snowy church with trees around)
cross-posted from journal.
It’s been quite a while since I had a class — missed the August session for C&N’s wedding — so it’s been over a month since I’ve seen our teacher. I had some questions on the waterfall I’ve been working on, but I put that aside as we had a new project to start out the new session.
We are working on a copy of a winter snowy scene by Zoltan Zsabo, who was a really really great watercolourist; we’ve done a few other things by him (Sunset Through Trees).
This was rather fun, I love doing big huge sky washes, mixing very wet colours (Permanent Alizerin Crimson at first, then going back with French Ultramarine) right on the paper. There was a flaw in the paper, though, as some part of it wouldn’t take paint — I guess it’s a cloud now! I tilted and moved the block of paper so the paint would just flow around — I love doing that!
The background forest was also fun. While the paper was still damp, started using a 1/2 inch flat with Quin Burnt Orange to make some orangish trees, then went over that with a mix of French Ultramarine, a tad of QBO to darken it, and some Sap Green. I ended up also doing just straight French Ultra to give it a little kick.
Then I started in with the blue shadows in the snow. This was fun; I kept the lower edge hard, to make a deliniation for the snow drift that is in front of the shadow area (negative painting to define shape). Also, a very pale, uneven wash over the snow area of Permanent Alizeran Crimson to give the snow a very slight pink cast as it is reflecting off the sky.
For the shadow parts, I gave the area in question a coat of clear water, then dropped in wet French ultra along the hard edge and let it flow into the softer areas. In some of the cases, I also dropped in some very tinted, wet Permanent Alizerin Crimson to give it a blue to purple cast.
That is what I got done today. I’ve really quite happy with it so far.
Mirrored from Tamara Temple's Blog.
So, my current work in progress is a waterfall. This is my first go at flowing water and I'm really struggling.
( Expand for picture )
Update: Corrected link:
For more on this work, see http://wiki.tamaratemple.com/Art/