Posts Tagged ‘value study’

Wednesday Watercolour at DVSA – Week Four!

08/02/2018

If you’ve ever spent time around a coastal fishing community, you’ll likely know what these things are. They’re floats that are used on nets and lobster pots. I’ve beachcombed quite a collection over the years and put together this selection for the Wednesday night watercolour students at the Dundas Valley School of Art.

Last week, our subject was hats and I demonstrated an approach to developing values with cool grey washes. Do you remember my demonstration?

The floats in the demonstration from yesterday evening were first painted in the same way as the hats. Once the washes were dry, I took it a step further. Using thin washes of local colour, I gently ‘glazed’ the objects. This is a very traditional approach to watercolour painting. I brought in a book and showed them a Gainsborough landscape that was completed with the same process.

All approaches/processes/styles have their pros and cons. The ‘value plus glazing’ process is great for establishing light and shadow and establishing a strong pattern in the painting. It’s not always the best approach for bright, vivid colour. All of the students felt that they could benefit from the experience and gave it a shot. They did well. As always, clicking on a critique image will bring up a larger version. See you next week!

Wednesday Critique a

Wednesday Critique b

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Wednesday Watercolour Class at DVSA – Week Three!

02/02/2018

If it’s a winter Wednesday evening, it’s time for watercolour painting at the Dundas Valley School of Art. As you can see, our still-life was comprised of a pile of hats. The hats aren’t particularly colourful but they were the perfect subject for the lesson I had in mind. I went ‘back to basics’ and talked about two main things during my demonstration; tone/value and brush-handling skills.

I drew my hats in pencil first. My cool grey was a mix of Burnt Sienna and Cobalt Blue. As I painted, I was very careful to leave the white of the paper for the lightest areas of the subject. I developed the bigger middle tone shapes next and the smaller dark shapes and marks came last. The brush-handling I mentioned involves the soft edge washes used to create gentle transitions such as on the crowns of the hats.

This study could be continued by ‘glazing’ washes of colour over the values. Believe it or not, this approach was widely used by early watercolourists a few hundred years ago and is still employed by some contemporary painters. I chose this lesson because I thought some of the students could use a refresher in light and shadow.

Next week, I’m going to take it a step further and discuss glazing. But right now, let’s see what the Wednesday class did. Remember to click on a critique image for a larger version.

Wednesday Watercolour
Critique a

Wednesday Watercolour
Critique b

Wednesday Watercolour Class at DVSA – Week One!

18/01/2018

Last night, I was at the Dundas Valley School of Art to teach Watercolour: Concept and Technique. This course, based on observation of the still-life, is comprised of eight evenings and we got off to a good start.

I didn’t discuss or demonstrate anything to do with watercolour technique. Rather, I focused on finding a composition with a thumbnail sketch/study. Thumbnail sketches are a very helpful part of the process. They don’t have to be pretty. They’re tools; not masterpieces. I lightly sketched an area of the still-life before deciding where I wanted to focus. I framed that area with pencil lines and shaded the main shadows within it. My next step was to enlarge the thumbnail on my watercolour paper while maintaining the same proportions as the sketch.

This was a new concept to many of the students. They worked hard on their thumbnails and on transferring the compositions to their larger watercolour sheets. The process slowed some of them down a bit and not all finished their watercolours. I didn’t mind that at all. As they incorporate thumbnails into their practice, they’ll become quicker and more assured. At the end of the evening, we looked at the paintings in two batches. See you next Wednesday!

Click on any critique image to see a larger version.

Wednesday Critique a

Wednesday Critique b

 

Fall Saturday and Tuesday Watercolour Classes – Final Week!

22/11/2017

I was back at the Arts on Adrian studio this week. I set up a still-life with analogous colours and these interesting carved wooden objects. Brain cramp! I forgot to photograph my demonstration from Saturday. However, it was very similar to the sheet I did for the Tuesday classes which I did remember to photograph.

I used only primary colours (red, yellow and blue) to mix the ‘browns’ of the wooden objects. I followed a traditional ‘soft to crisp’, ‘big to small’ and ‘light to dark’ process. My first wash in each study covered the entire object. Second washes added structure and pattern. The thin, dark grooves were the last step.

Do you do thumbnail studies before you paint? I encourage my students to make thumbnails in order to find their composition and consider value. I’m showing two thumbnails by two different artists from the Saturday class.

Thumbnail study by George

George likes to do a sketch of the entire still-life. He then picks an area and develops the values. This is a very small study, no more than 4 x 5″.

Thumbnail study by Rosemary

Rosemary has already decided on her area of interest when she starts her study. Note that she uses a grid to help her enlarge the image on to her watercolour sheet. This study is roughly 8 x 6″. I don’t think a thumbnail needs to be any larger.

Can you pick out the watercolours by George and Rosemary in the Sustained Saturday critique?

Sustained Saturday Critique

I’ll jump right to the Tuesday critiques. Same demonstration, same still-life. My fall classes are over at Arts on Adrian. I’ll be back in January and you’ll hear about the winter calendar here. Stay tuned and thanks for following.

Tuesday Afternoon Critique

Tuesday Evening Critique

 

Portugal 2017 – Cascais!

02/10/2017

Last Wednesday, we left Tavira and the Algarve and headed for the beautiful seaside town of Cascais. We had two more painting days on our itinerary and a free day at the very end of our stay. Cascais is very close to Lisbon and it’s airport.

I went back to basics on Thursday morning. I’d noticed that some of the students had been a bit tentative regarding their grasp of and commitment to light and shadow. Light and shadow is a fundamental concept of traditional representational art. It’s a very important step in order to simplify a subject. I’d drawn two subjects ahead of time and painted them in front of the group. The lighthouse was painted with a sepia wash and the palace was done with a combination of cool and warm (red and blue) colours.

I gave the students a lot of freedom to find their painting spots in Cascais. Our hotel backed on to a lovely park and the lighthouse and several palaces were very close by.

The famous Boca de Inferno (Mouth of Hell) was a short walk from our hotel.

The park was home to some lovely wild avian creatures as well as a number of chickens and roosters.

Rose-ringed Parakeet

European Robin

Mother hen and her brood

We had one more ‘regular’ end of day critique. If you click on a critique photo, you’ll be able to view a larger version of it.

Thursday Critique a

Thursday Critique b

Friday was a painting day and, once again, I allowed the students to wander and find their own painting spots. Cascais was very popular with the group. The sea, the amazing buildings and even the variety of public art on display throughout the town were all an inspiration.

Friday was our final scheduled painting day. Saturday would be a free day and several of the group took a tour to Sintra, a hilltown of palaces and castles. Still, Friday was a very important day. We met in our studio at 5pm for our Final Critique. This is quite a different experience from our daily critiques and is more like an exhibition. Each student selects three pieces, or sheets, of their work and presents them to the group. They talk about their selections and about their experience over our two weeks together. It’s a lot of fun and a great way to summarize our trip.

Here is the class of Portugal 2017 in alphabetical order.

Aleda

Barb

Barbara

Carolyn

Elizabeth

Evelyn

Frances

Ian

Judy

Leslie

Maria

Marlene

Nila

Renate

Valarie

Final Critique was followed by our Farewell Dinner. We held our Farewell Dinner one night early because of our early flight on Sunday morning. We were picked up at the inhumane hour of 4:30am but got to the airport in plenty of time and made it back to Canada tired but happy.

What a trip! The Portuguese are very friendly, English was widely spoken and we had nothing but sunshine for two weeks. Thanks for following, commenting and liking these posts.

 

Plein Air Toronto 2017 – First Three Days!

26/06/2017

One week ago, the 2017 Plein Air Toronto participants gathered at the Arts on Adrian studio in the west end. We introduced ourselves and I gave a demonstration that considered several common elements of the urban landscape we’d be painting for the next five days. We also discussed colour; green, in particular.

Following our meeting, we headed down to the Sunnyside Pavilion which is on the beach of Lake Ontario.

The Pavilion is a lovely place to sketch and paint, inside and out.

We put in a good day’s work and met inside the Pavilion for our first critique of the week. Click on an image for a larger version.

Sunnyside Pavilion
Critique a

Sunnyside Pavilion
Critique b

We met onsite at Riverdale Farm on Tuesday morning. It was a blustery day with a few showers but there was ample overhead shelter for us. This urban farm is bordered by a park on one side and a historic cemetery and chapel on the other. There’s lots of great subject matter to choose from including the charming cafe across the street.

I had prepared a demonstration ahead of time. My subject was the cafe and my painting was a value study in cool greys. I discussed my process and the importance of developing an eye for value.

Colour can be added to a study like this by gently ‘glazing’ washes over the appropriate areas. The grey washes should be completely dry before proceeding.

The group wandered around a bit to find their spots and then settled in. I kept a few of the newer folks back to talk about basic drawing and the use of a measuring stick to assist with perspective and proportion. I’ve developed a Drawing Checklist over the years and it can be very useful.

The little bit of rain didn’t deter us. It was a very productive day and we found a private and quiet spot for our critique.

Riverdale Farm
Critique a

Riverdale Farm
Critique b

Wednesday promised to be a day of sunshine and we chose historic Spadina House as our location. We met in the parkette between Spadina House and Casa Loma for my demonstration. I used an approach I call shape-reading, direct painting without any preliminary pencil drawing. Challenging but fun and very instructive. As I painted, I chatted about my thoughts and decisions.

We made the most of our sunny weather and gorgeous painting site.

It was a beautiful day and the paintings were equally lovely. Stay tuned for our final two days of Plein Air Toronto 2017. Coming soon!

Spadina House
Critique a

Spadina House
Critique b

 

 

Pen and Ink Studio at DVSA – Week Five!

12/02/2017

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Last Thursday afternoon was Pen and Ink Studio time at the Dundas Valley School of Art. I brought in my collection of milkweed pods. Natural forms are a very rewarding subject and the students enjoyed drawing them.

I showed a few different approaches to studying the milkweed. This is a demonstration from a past workshop. I started with a pencil drawing before adding a light wash of a sepia-like brown. When it dried, I added a second darker wash of the same colour. Once again, I waited for it to dry. The pen work was my final step.

Pen and wash demonstration by Barry Coombs

The next study is the one I worked on during the Thursday class. It was developed with local colour and then I explored it with the pen using mostly the technique of cross-hatching.

Pen and watercolour demonstration by Barry Coombs

Some of the students elected to use colour and others stuck with values of sepia. One of our students devoted the afternoon to her personal project and it’s coming along very nicely. I hope to post some of these projects soon!

Pen and Ink Studio Critique

Pen and Ink Studio Critique

Winter Saturday and Tuesday Watercolour Classes – Rust and Dust!

08/02/2017

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These old cans and containers have a lot of character and are always a popular subject with the watercolour students. On Saturday, I focused my demonstration primarily on colour and texture.

Watercolour demonstration sheet by Barry Coombs

A Sustained Saturday class is six hours long and it allows the students lots of time to complete thumbnail sketches and small studies before starting a more ambitious piece. This extra effort always pays off!

Sustained Saturday Critique

Sustained Saturday Critique

Tuesday was quite a challenge and I’m not talking about the watercolour painting! Our region experienced an ice storm. I followed the weather report every half hour and decided to run the classes. Amazingly, eleven determined students showed up for the afternoon class. Unfortunately, conditions worsened but four undaunted (maybe crazy) artists turned up for the evening session.

I concentrated on simplification and colour with my demonstration. The small study on the right was done in the evening. I’ve drawn attention to the foregound object by eliminating all paper white in the background with a cool grey wash. When that wash dried, I added shadow shapes of the other objects in a single value. Suggestion versus depiction.

Watercolour demonstration sheet by Barry Coombs

A potentially disastrous day turned into a success!

Tuesday Afternoon Critique

Tuesday Afternoon Critique

Tuesday Evening Critique

Tuesday Evening Critique

Pen and Watercolour at DVSA – Drawing People!

25/11/2016

I was back at the Dundas Valley School of Art yesterday for a day of pen and ink drawing. We combined the pen with watercolour and our theme was ‘drawing people’. I rarely use photographs when I teach but they’re perfect for this lesson. I brought in the photo reference for the students.

We started the day with a discussion about proportions of the figure and head. That proved to be very helpful with the two exercises that we completed. Our first drawing was of a little boy and I demonstrated in three steps. The first step was the pencil drawing. Following that, we got out the pens. The final step was the watercolour although, once the watercolour was dry it was possible to go back in with the pen, if desired.

Step one of pen and watercolour demonstration by Barry Coombs  Step two of pen and watercolour demonstration by Barry Coombs

Step three of pen and watercolour demonstration by Barry Coombs

We varied the process with our second drawing. Pencil first. Watercolour second. Pen third. Be careful with that pen! You can’t erase it. I might have been too enthusiastic and unintentionally gave this poor woman a bit of a moustache. Oh well, it’s Movember, after all.

Step one of pen and watercolour demonstration by Barry Coombs  Step two of pen and watercolour demonstration by Barry Coombs

Step three of pen and watercolour demonstration by Barry Coombs

As always, some of the students were faster workers than others. We didn’t have time for a third drawing but, near the end of the class, I gave one more demonstration. I started with pencil and then applied a ‘sepia’ wash mixed from Cobalt Blue and Burnt Sienna. I did the pen work once the wash had dried.

Step one of pen and wash demonstration by Barry Coombs  Step two of pen and wash demonstration by Barry Coombs

We wrapped up the day with a look at the student work. They did very well and should be equipped with a sound process for their own projects. Have a look at their work and, if you’re in the area, join me this winter at DVSA for eight weeks of Pen and Ink Studio on Thursday afternoons.

Drawing People Critique

Drawing People Critique

 

Pen, Wash and Watercolour at DVSA – Buildings and Trees!

04/11/2016

I had an enthusiastic and hard-working group of students at the Dundas Valley School of Art yesterday. Our medium was pen and ink with wash and watercolour. Our theme was buildings and trees. In other words, architectural elements and foliage. To start the class off, I presented some basic perspective elements that are very helpful when drawing buildings. I worked on a large pad at an easel and the students made notes in their sketchbooks.

It was time to draw! We did three projects over the course of the day. Each was started from a very simple diagram and then the students followed my steps. Our first drawing was of a tree and was completed in three steps. The first image shows two steps; the pencil drawing and a ‘sepia’ wash (mixed with Cobalt Blue and Burnt Sienna). In the second step, we used the pen. To create a sense of foliage, looping strokes were employed as if we were repeating Ws and Ms. The bark of the tree shows long zigzag strokes.

Step one of pen and watercolour demonstration by Barry Coombs  Step two of pen and watercolour demonstration by Barry Coombs

Our goal was to ‘suggest’ the textures of foliage and bark. Ws and Ms and zigzags may not always work but can be quite effective in many cases. We tried something a bit different with our next drawing. Again, our first step was a light and basic pencil drawing but this time we did the ink before the watercolour. We more or less scribbled with our pens. However, an angular approach was used in the main tree while a looping motion was used in the background bushes. The grass was suggested with a spiky action. The ink step was completed and then watercolour was applied.

Step one of pen and watercolour demonstration by Barry Coombs  Step two of pen and watercolour demonstration by Barry Coombs

Here’s a look at what the students achieved with our first two exercises.

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We did one more drawing in four steps: pencil, monochromatic wash, pen and watercolour. The first image shows the pencil and monochromatic wash. The wash establishes the light and shadow. This time, we did the pen next. The pen added definition and detail and it was fun to create new shapes such as the cat in the window. Lastly, we glazed some thin washes of local colour over the relevant areas.

Step one of pen and watercolour demonstration by Barry Coombs  Step two of pen and watercolour demonstration by Barry Coombs

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It was a busy and enjoyable day. I’ll be back at DVSA on Thursday, November 24. We’ll be using pen and watercolour to draw people and it’s going to be fun. There are still a few spots left so why don’t you join us?