Posts Tagged ‘watercolor’

Wednesday Watercolour at DVSA – Week Five!

09/11/2018

This pile of old ball caps was our painting subject at the Dundas Valley School of Art last Wednesday evening. We’ve already painted ceramic and metal objects as well as fruit and vegetables. Why not these soft, crumpled forms that take the light so nicely?

Several of the students had upgraded their watercolour paper to something more absorbent and of a better quality and I’m glad they did. I reviewed soft edge techniques again and stressed simplification. It’s not necessary to paint every single wrinkle!

Last week, many of the students struggled. One reason was the usual and quite normal adjustment to new techniques. The other reason was trying to overcome the hurdle of cheap paper. What do I really think about the importance of using an appropriate paper? I promise not to mention it again.

There was a happy atmosphere during our critique at the end of the evening. Gaining competence with these techniques will continue to require lots of practice but the work looked great!

Wednesday Critique

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Wednesday Watercolour at DVSA – Week Four!

07/11/2018

It was our fourth evening at the Dundas Valley School of Art and we’re already at the midpoint of the fall term. It was also Halloween although I didn’t choose a thematic still-life. Instead, I went for these colourful metal objects. I wanted to discuss soft edge techniques again and these seemed to be an appropriate subject.

I reviewed and elaborated on a few ways to create the gentle transitions of a soft edge. How wet is the first wash? How dark is the second wash? Timing! There was a lot to talk about. The bottom right study, by the way, was an example of how not to do a wash. You had to be there.

I also stressed the importance of using the right paper for the job. My material list suggested absorbent papers such as Arches, Winsor & Newton and Saunders; all 140lb. and cold pressed. Unfortunately, many of the students disregarded this and purchased cheap, non-absorbent paper. I’ve watched them struggle with it for a few weeks and brought it to their attention again last Wednesday. We’ll see what they turn up with tonight.

Everyone worked hard and gained experience and that’s the important thing. However, we’ll see if better quality paper makes a difference over the next few weeks. It should. That’s why they make the good stuff.

Wednesday Critique

Wednesday Watercolour at DVSA – Week Three!

25/10/2018

I employed the KISS rule yesterday at the Dundas Valley School of Art. Keep it simple, student! Last week, you may recall that very few of the paintings were finished at the end of the night. I don’t really care as to whether or not they’re finished but I do think it’s important to go through the whole process. With that in mind, I suggested a few options; smaller paintings and/or less objects in the painting. In addition to that, I opted to use pears, always a classic subject, with some simple pots to set them off.

My demonstration sheet below is of the ‘you had to be there’ variety. It doesn’t look like much but I used it to discuss basic ‘soft edge’ techniques. The demonstration plus our discussion clicked somehow.

I’d like to take a little bit of credit for the results but I didn’t paint these watercolours, did I? Overall, the students really pushed themselves and were much more satisfied with their work than they had been last week. I’m also pleased that the less-experienced watercolour painters have shown improvement every class. See you at DVSA next week!

Wednesday Critique

Watercolour Classes at Arts on Adrian This Week!

17/10/2018

Fall term began last Saturday at the Arts on Adrian studio in the west end of Toronto. I set up a similar still-life to the one I used recently at the Dundas Valley School of Art. Pumpkins, squashes and gourds; very seasonal and fun to paint.

My demonstration for the classes focused on the relationship between drawing and linear composition. In addition to that, I discussed the pattern that is created by a tonal/value understanding of the subject. I also touched on colour mixing for some of these objects.

There’s always lots of creative energy in these classes and the work was impressive. I hope you enjoy it. I’ll be back at Arts on Adrian in two weeks!

Sustained Saturday Critique

Tuesday Afternoon Critique

Wednesday Watercolour at DVSA – Week One!

12/10/2018

Canadian Thanksgiving was last weekend, the leaves are falling and it’s time for Fall term at the Dundas Valley School of Art. I was back in Studio Two for an evening of intermediate watercolour painting on Wednesday. It was nice to see several familiar faces and to meet a bunch of artists for the first time.

Where does one start with a new class? The first evening gives me a chance to see how everyone likes to handle the medium and for the students to get to know me. I discussed the basic guidelines of a sound process; ‘light to dark’ and ‘big to small’. I didn’t focus overly on technique; just a step-by-step picture-making process. I worked on my demonstration in front of the class for a while before they got to work. While they painted, I continued with the process and showed them the study as I painted each step.

I also kept an eye on their paintings over the course of the evening. Generally, the work was quite competent but I noted a few things that I’ll discuss with next week’s demonstration. Click on the image below and you’ll see a larger version of our first Fall Wednesday Critique.

Wednesday Critique

Vermont 2018 – Our Last Day was Friday at Glover!

09/10/2018

One more to day to go and the weather was beautiful! One more demonstration, as well, and I decided to offer two basic approaches to painting clouds.

In my first study, all the shapes were drawn in pencil first. I left a fair bit of paper white on the puffy clouds but used an off-white wash in the ‘background’ clouds. Washes were allowed to dry before new ones were applied. The puffy clouds were painted one at a time. I started them with either clean water or a pale wash and touched in the darker values while wet. Very step by step and it took about fifteen minutes or so (using a hairdryer sped things up).

My second study took about four minutes. Cloud shapes were loosely indicated with light pencil marks. I wet the sheet with water overall but left dry patches for the white of the clouds. The light blue went in next and the darker cloud values followed.

The two different basic approaches were appreciated by the group. Of course, there are probably as many ways to paint clouds as there are actual clouds but one has to start somewhere.

Our painting site was the town of Glover and it was full of Vermont character with a wonderful general store and Red Sky Trading. A short stroll took some of our painters into the rural countryside. The colours were out in their glory and it was another fulfilling and creative day.

A shady spot

A not so shady spot

Feeling the Bern!

All good things come to an end, as they say. This was our last day and we had an evening itinerary. First, however, we returned to the Ski Hut Studio to look at our work from Friday. Remember to click on a critique image to view a larger version.

Friday Critique a

Friday Critique b

Friday Critique c

On Friday evening, we enjoyed a fine Farewell Dinner at the Highland Lodge. Heidi, Chad, Brittany, Arnold and the whole team had looked after us very well all week long and our dinner was a great way to wrap up. There was musical entertainment, as well, and Heidi sang a song to our group of watercolour painters. It was the John Denver classic, ‘Leaving on a Jet Plane’.

After dinner, it was back to the studio for our Final Critique. Each artist selected three works to show us and it was a nice way to summarize and recall our endeavours together. Several of the group stayed on Saturday and explored even more of the Northeast Kingdom but our workshop was over.

Thanks go to all of our participants, the staff at Highland Lodge and the very friendly Vermonters we encountered every day. Thank you for following! Next stop is from March 21-31, 2019 in beautiful and safe San Miguel de Allende. Care to join me for a painting adventure in Mexico? Click here to view all of the details!

Vermont 2018 – Thursday at Craftsbury Common!

09/10/2018

Another morning and another demonstration in the Ski Hut Studio. The weather was fine and our plan was to paint at Craftsbury Common, which features a lot of charming white buildings. Well, we didn’t have any white paint so what would we do?

The white of the paper can be used, of course, but sometimes it needs a little help. I discussed ways to very lightly tint the paper to create warm, cool or neutral whites. Also, we looked at how to mix whites in shadow.

White can also be enhanced by context. For example, a black roof and shutters can help make a wall in shadow look whiter.

I wrapped up the demonstration and off we went to Craftsbury Common for a very pleasant day of sketching and painting.

We had a few unexpected art critics from nearby Sterling College.

It was a relief to enjoy such good weather. Still, critiques are best held indoors so, at the end of the day, we convened at our Ski Hut Studio. I was very pleased to see the progress made over the week to date. There’s one more day to go. Stay tuned!

Thursday Critique a

Thursday Critique b

 

Vermont 2018 – Wednesday at Bread and Puppets!

06/10/2018

I’m devoting an entire post to Wednesday (September 26). We woke up to more foul weather but I had a plan. I’d already made arrangements to sketch and paint indoors in the fascinating Bread and Puppet Museum. Bread and Puppet Theater is a celebrated organization that strives for social justice through wonderful outdoor performances. Click on one of the links here and read all about their endeavours!

So, working ‘en plein air’ was put on hold for the day but painting in the museum was a terrific consolation and a unique Vermont experience.

I had prepared a morning demonstration with the museum in mind. I used cool greys mixed from Cobalt Blue and Burnt Sienna to develop a value study. I’ve simplified the process to show you three steps.

There are three values in Step One; the white of the paper, a light middle value and a darker middle value. I’ve preserved the paper white in the foreground to enhance a feeling of depth.

I’ve added more values in Step Two. The greatest contrast is in the two foreground characters.

There were some intermediate steps but this is the final version. Once the values were developed, I gently ‘glazed’ colour over the local areas. That was my offering for Wednesday morning. We headed to the museum and this is what we found.

What a great day! Thanks so much to the Bread and Puppet Museum for hosting us. Now, let’s go back to Highland Lodge and the Ski Hut Studio for our critique. Don’t forget to click on a critique image if you’d like to view a larger version.

We weren’t done yet in Vermont. Stay tuned for our exploits on Thursday and Friday.

Wednesday Critique a

Wednesday Critique b

Wednesday Critique c

 

 

 

 

 

Vermont 2018 – First Two Days!

03/10/2018

I just got back from beautiful Vermont last night. A week ago Sunday, on the 23d of September, our group of Canadian and American watercolour painters converged on the lovely and welcoming Highland Lodge, which overlooks Caspian Lake in the Northeast Kingdom. Our generous host, Heidi Lauren, offered us cocktails in the charming bar before we enjoyed a delicious Welcome Dinner together.

MONDAY
The following morning, Monday the 24th, we met in our Ski Hut Studio. I started the painting week off with a slide presentation with two themes. The first segment was entitled Planning Your Watercolour and focused on a sound process. The second part featured the work of acclaimed Canadian artist, A. J. Casson (1898-1992). Casson was a member of the celebrated Group of Seven; a ground-breaking group of Canadian landscape painters. We took particular interest in how he simplified foliage in his watercolours and oils and how he dealt with fall foliage, in particular.

A. J. Casson

A. J. Casson

After our studio meeting, we headed to the famous Greensboro Barn at Turning Stone Farm and were hosted by local artist, Jennifer Ranz. It was a wonderful painting site with a great variety of subject matter including the barn itself and a classic Vermont maple sugar shack.

We settled in for the day. The painters spread out all over the property. It was overcast and cool but that doesn’t stop a keen bunch of ‘en plein air’ watercolourists!

Eventually, it was time to warm up and have a look at the day’s work. It was a short drive back to the lodge and our Ski Hut Studio. Here’s the work from our first day. Click on any critique image to view a larger version.

Monday Critique a

Monday Critique b

TUESDAY
It was a grim day. Cool and wet. Fortunately, we had our spacious and well-furnished studio where we met for a demonstration. Looking again at the work of A. J. Casson, I discussed the simplification of foliage and greens, as well. Do you see the four swatches of green in the lower left corner? They were all darkened with the same wash of Cobalt Blue. Works, doesn’t it?

The resourceful painters found several places to work for the day. The studio, the front porch, the lodge interior and even through the windows of their rooms and cabins. Of course, it helped that the Highland Lodge has a spectacular view.

Ski Hut Studio

Lodge Interior

Front Porch

Undaunted! It was a productive day as you can see from our critique. Stay tuned for the next episode of our creative adventures. There’s lots more to come from Vermont.

Tuesday Critique a

Tuesday Critique b

 

Grand Manan Island 2018 – Final Two Days!

08/08/2018

THURSDAY
We kicked off Thursday morning at our studio. My demonstration was of graded washes; washes over large areas, even the whole sheet, with gentle soft-edge transitions. First of all, I did two washes of skies. Then, I did an unusual one; an almost abstract runny wash that suggested a misty landscape. As it dried, however, I worked light to dark and gradually developed an interior with a window. When finished, the misty landscape could be seen through the window.

The final wash suggested a foggy day. I used value to accentuate the feeling of depth and atmosphere.

Following our session at the studio, we convoyed to Dark Harbour on the west side of the island. Dark Harbour is home to the largest fleet of dories on the island and they’re used primarily for gathering dulse, an edible seaweed. The dories are always a popular subject and we spent a productive day below the towering cliffs.

Camps, cabins of all shape and size, line the beach at Dark Harbour. This one still seems to be celebrating last month’s Canada Day holiday.

The tide was flowing in quickly toward the end of the afternoon. We took the hint and made our way back for critique. Don’t forget to click on a critique image to see a larger version.

Thursday Critique a

Thursday Critique b

FRIDAY
Would we enjoy yet another day of beautiful weather? Our painting site was a quiet laneway of sheds and boats at Ingall’s Head. I set up my easel for one more demonstration. I wanted to take the group through the whole process of a small watercolour painting, starting with a pencil drawing and working light to dark and big to small. At one point, I moved everything to a shadier spot and completed the work there.

We got sun, all right! Our painters dispersed after the demo to look for shade and subject matter.

Alas, all good things come to an end. We went back to our studio to cool off and have a look at the day’s work.

Friday Critique a

Friday Critique b

On Friday evening, we gathered at our cottage for our Farewell Dinner. It was an opportunity to relax, socialize and discuss the week. After dinner, we had one more group event on our itinerary; Final Critique. Each artist showed us a small selection of their week’s creative output and talked about it for a few minutes. It’s a very nice way to summarize our time together. Earlier in the day, our good friend and excellent photographer, David Ogilvie, took a group photo. Here they are; the Grand Manan class of 2018!

Thanks go to all of the participants for their hard work and enthusiasm. Also, special thanks to my partner, Aleda O’Connor, for taking time from her own painting to assist me in every way. In addition to that, I appreciate you for following, liking and commenting.

Grand Manan Island
Class of 2018