Winter Wednesday Watercolour at DVSA – Week Two!

Last night, I was at Dundas Valley School of Art for the second evening of a four-week watercolour class based on the still-life. As I mentioned last week, the students are a balanced mix of ‘regulars’ and new. By ‘regulars’, I mean students who have done at least two prior still-life courses with me, more than that in some cases. Although this class is not intended for novices, most of the new students have no prior experience with observational work but have taken other watercolour classes at some time.

How does an instructor handle a group of students with various levels of skill and experience? First of all, in the world of non-credit adult education, this is the norm. I’ve been teaching adults for thirty-two years and this has always been the case wherever I’ve taught. So, back to the question.

Last week, I didn’t know the new students at all. My demonstration dealt with the fundamental issue of observational work. Find the light! Also, I briefly touched on soft-edge techniques. We got started and, as I walked around the studio, observing and offering feedback, I quickly grasped the skill levels of the new students.

The thing about traditional, observational work is that watercolour technique is only a partner to the basics of drawing and understanding light and shadow. It’s very challenging to new students especially if they don’t have much of a background in drawing. As I walked around, I felt that all of the new students were able to draw the subject competently. The general grasp of light and shadow was less accomplished but that’s often the case with much more experienced students. This is why I chose the topic for the first demonstration last week.

I started the second class with a demonstration for the whole group. You can see it on the left side of the sheet. A bit of everything was discussed; light and shadow, the value and colour relationships between the various objects and soft-edge technique. Then, I asked the ‘regulars’ to get to work and I kept the new students with me for a few more minutes. The right side of the sheet illustrates my talk about creating soft edges, a core watercolour technique. After this supplementary lesson, the new students got to work.

Back to the question again. This is one way that I deal with a group of students with various levels of skill and experience. I do other things, as well. I suggested that the new students consider a sheet of studies of individual objects rather than tackling a full composition, for example. Also, I constantly stress process over product. To the new student, their first four evenings of still-life painting are merely an introduction to the process. It’s a learning experience. The regulars continue to develop their observational and watercolour skills as well as their grasp of colour and composition, also a learning experience.

I’ve enjoyed the first two evenings. Everyone has worked hard. Our attendance was diminished a bit by a winter storm but we still had a lot to look at for our critique at the end of the class. The critique, by the way, is a critical part of the learning experience but not the only opportunity to learn. The engaged students will learn a lot from each other as they walk around during breaks and look at the other paintings in progress as well as during the critique. I offer constructive critiques and I emphasize that the critique is not a competition but an opportunity to learn from the feedback given to every participant.

I’ve written a lengthy post now and only scratched the surface about adult studio-based art classes. Before we look at the paintings from last night, I have a question for you. How much do you value critiques in the art classes you’ve taken? Please, comment.

Wednesday Critique

 

Fall Wednesday Watercolour Class at DVSA – Final Week!

I wanted a cheerful subject for our final class this fall at Dundas Valley School of Art and these colourful peppers fit the bill nicely. Warm colours such as red, yellow and orange can be tricky to work with; particularly when one mixes the darker values. With that in mind, I talked mostly about colour mixing to start things off. Also, I took a shot at a red pepper and discussed the steps including the initial drawing, soft-edge washes and some useful brush-handling techniques.

I’ve enjoyed the group this term and been very pleased with their progress. During our critique on Wednesday evening, I pointed out that a successful painting isn’t judged solely by the ‘realistic’ rendering of the individual objects. A successful work is the sum of it’s parts. The skill to render a pepper realistically can be learned with practice. Creating bright, colourful paintings like the students did is no mean feat and not to be under-rated.

As usual, remember to click on the critique image to view a larger version. Thanks for following along for the past eight weeks! Thanks to you, this blog received it’s 280,000th view the other day.

By the way, the still-life served another important role; delicious stuffed peppers prepared by Aleda O’Connor! Check out her website.

Wednesday Critique

 

 

Fall Wednesday Watercolour at DVSA – Week Six!

These rusty and dusty old cans were our subject matter last Wednesday at Dundas Valley School of Art. My demonstrations have been focused primarily on soft-edge techniques and brush-handling this term. I added a new wrinkle to the process on Wednesday evening.

I started the demo with a pencil drawing and then taped around it to create a composition. Next, I painted a very light and slightly varied wash across the whole image, using a mix of Cobalt Blue and Raw Sienna. When the wash was dry, I continued the painting and started with the bigger shapes, often touching in a new colour or value and letting it run a bit. Gradually, the image took shape as I continued to work with a ‘light to dark’ and ‘big to small’ process.

This demonstration took a while. The students watched the initial washes only before they got to work. I carried on with it as they painted. I’d do a step and hold it up to show them. After walking around the studio to give feedback, I’d do another step and so on. Once in a while, a sustained demo can be helpful but must be balanced with the student’s painting time.

The preliminary wash idea was new to most of the class but everyone tried it. In a way, it breaks the creative ice. All of the sheet is covered by paint right away even though it’s a light wash. The gritty old gas cans were the right subject, as well. It’s hard to get too precious as they’re so worn and they’re fun to draw.

Here’s the work! Click on the image to view a larger version.

Wednesday Critique

Fall Wednesday Watercolour at DVSA – Week Three!

Wednesday evening is watercolour night at the Dundas Valley School of Art this fall. It was the third class of eight and I’m still sticking to basics. The first evening of this course, I discussed value. Last week, I presented soft-edge techniques. Yesterday, my demonstration focused on creating even washes over larger areas. In this case, that meant not only the two baskets but the spaces between the various objects.

I started the baskets with a yellowish wash that covered both baskets at the same time. I then added darker values which helped to distinguish the baskets from each other. I kept it simple and used only three values.

The tabletop and the background were painted with even, ungraded washes. Graded washes might offer more visual appeal but let’s walk before we run. Creating an even wash without streaks and blossoms/backruns takes thought and practice.

Most of the group are working in fairly small  formats. I don’t mind as it gives them a chance to resolve their work in the alloted time. That way, they can complete all of the shapes in their paintings and get a sense of how all of the value and colour relationships work together. I can see progress over our first three classes and I’m looking forward to next week.

Wednesday Critique

Winter Wednesday Watercolour Class at DVSA – Week Four!

The bottles were empty for the Wednesday watercolour students at the Dundas Valley School of Art. Not even half full, unfortunately. Spirits were high, however, and we used our bottles to continue practicing soft-edge techniques. I did a quick review of the basic approach and then applied the techniques with a few studies.

The bottles were first painted by adding dark values to the lighter overall shape while still wet. When the first washes were dry, I added the smaller, darker shapes. These are very clear in the green bottle on the left where the darker shapes all have distinct, crisp edges. In the two brown bottles, I ‘feathered’ some of the edges of the darkest shapes, using a damp brush. This varies the edges of the small, dark shapes and gives the bottle a somewhat more natural appearance. The blue studies, bottom centre, illustrate the feathering technique.

This group of students all work thoughtfully and follow a sound process. Practice swatches, small studies and colour testing all lead to more successful watercolour paintings. Have a look and remember to click on the critique image to view a larger version.

Wednesday Critique

Winter Wednesday Watercolour Class at DVSA – Week Three!

Our colours were complementary and our focus was on soft edge last Wednesday evening at the Dundas Valley School of Art. The ability to create soft edges is a key element of watercolour painting. I showed the students how to ‘inject’ a darker value or colour into a lighter wash. Both washes are wet when they touch each other and timing is critical.

I painted several swatches, including some examples of what not to do. Then, I applied the basic technique to a few studies of oranges and the blue pitcher. This was review for some of the students and new to others. It takes a lot of practice but it’s a very important tool in any watercolour painter’s toolbox.

Practice and process. Repetition. Everyone worked hard and thoughtfully. We’ll continue to explore soft edges in the weeks to come.

Wednesday Critique

Winter Watercolour at DVSA – Week Two!

Hats were our subject at the Dundas Valley School of Art last Wednesday evening. We’d focused on value for our first class and worked with monochrome washes. This time, we were more than ready for colour but I still discussed value to start off. You can see my pencil study on the upper left of the demonstration sheet.

My little notes on the sheet mean: Light to Dark, Big to Small and Soft to Crisp. These aren’t hard and fast rules but are good watercolour guidelines. I suggested that the students focus on observation of value and shape. They worked wet over dry and didn’t concern themselves with soft edges. We’ll be discussing soft edge in our next class.

I liked the results of our second evening together and look forward to the weeks to come.

Wednesday Critique

 

Wednesday Watercolour at DVSA – Week Two!

Ceramic objects were our subject at the Dundas Valley School of Art last Wednesday evening. I’d given thought to the work from our first class and decided to focus my demonstration/lesson on two things; mixing middle tones and simplification. The prerequisite for this class is ‘some prior watercolour experience’. As such, some of the students have a fair bit more experience than others but I have no problem with reviewing a few basics.

The less-experienced watercolour artist often has trouble with mixing the middle tones and their paintings can look washed out. Starting with primaries, I offered my thoughts. Next we turned our attention to simplification. Simplification of form is not a technique; it’s a concept. It’s very closely allied to chiaroscuro (light and shadow). My little studies are painted with a single value mixed from Cobalt Blue and Burnt Sienna. I didn’t paint the areas where I observed direct light striking the objects. Can I get any simpler? Can you see and understand the basic objects?

Many of the students spent time on small studies before embarking on a painting. That took time and not many of them were able to finish their work by the end of the evening. It was time well spent, though!

Learning can’t be rushed. We’ll see more resolved images over the weeks to follow. I saw a lot of good things on Wednesday evening.

Wednesday Critique

Winter Wednesday Watercolour at DVSA – Final Class!

Wednesday evening was our last of eight classes this winter at the Dundas Valley School of Art. Attendance has been excellent and everyone was present for our rusty and dusty still-life.

My demonstration is a small painting, about 8 x 8″ or so. I worked very quickly and, as I painted, I reviewed several of the ideas and techniques from the prior classes. I even threw in a few new thoughts. The bluish object on the left was painted right over the background, for instance. I also cropped very tightly, thinking that the most interesting parts of the objects were the handles and spouts.

I’ve seen a lot of progress with the student’s paintings and I’m grateful for their enthusiasm and hard work. They also paid attention although nobody cropped their composition nearly as much as I did.

This spring, I’ll be teaching four one-day pen and ink workshops (some with watercolour) at DVSA. Next fall, I hope to offer another series of evening watercolour classes. For now, thanks go out to my great bunch of watercolourists and to all of you for following.

Wednesday Critique a

Wednesday Critique b

Winter Tuesday Watercolour Classes – January 12

This is the other side of our still life from the Sustained Saturday class last weekend. It’s a tricky subject and I did my best to simplify the various elements of the challenge. As on Saturday, I discussed the drawing of ellipses and also offered suggestions about how to handle the crate and it’s relationship to the cups and mugs.

I thought I might experience a mutiny when the Tuesday students saw the still life. There were a few nervous remarks as they entered the studio. As usual, however, they accepted the task and worked hard. It was a good learning experience and the classes ended on a very positive note.

Tuesday Afternoon Critique

Tuesday Evening Critique