HA! I've discovered the secret to great art!

Cafe Society
41

[QUOTE=fessie]
I agree with you, your decision to be bold and relax really benefits the piece. There’s nothing more annoying than tedious, fussy, precious brushwork - being “tight” never helps. And the bright colors you chose are lively and fun - you did a good job of balancing saturated colors in the foreground with more dilute tones in the sky. You seem to be very sensitive to details, like the pink reflection on your boat - using that color was an excellent choice. And that red ball, you gave it volume.
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Thanks! Yeah, using bold colors and doing a lot of glazing is my “thing” right now. Unfortunately, in painting my niece in this way, I’m afraid I’ve given her a horrible skin disease. I might just give up on that particular subject. I think it’s beyond me right now.

Hospital personnel, actually. Doctors, nurses, orderlies, receptionists, etc. There is really a wide range of talent. Last year there were maybe 4 visual artists, a bunch of photographers, a dress designer, a woman who made Xmas ornaments out of egg shells, and a guy who put together jigsaw puzzles. Clearly, the best among us was a neurosurgeon who did oils. I think he’s in the wrong profession.

16 months to be more or less exact. The past four have been especially productive.

I’ve been through Betty Edwards’ book, thanks to the recommendation of someone on this board (can’t remember who – looking up that old thread, turns out to be someone named fessie :wink: ). I need to go through it again.

I’ve looked around for watercolor instruction, and there’s not much to be found. Maybe I’ll have better luck with drawing. And yeah, maybe if I hit up some of the art schools in the area, I’ll find a lot more.

42

Art is meant to disturb. Science reassures.

– Georges Braque

It’s not a bad thing to put off the viewer. In fact, that’s what will make your work memorable. If you want the viewer to be comfortable with your work, then you’re no better than Thomas Kinkade. Just MHO.

43

[QUOTE=An Arky]
If you want the viewer to be comfortable with your work, then you’re no better than Thomas Kinkade. Just MHO.
[/QUOTE]

Heh.

What’s funny is what inspired me to start painting is a self-taught watercolorist in a New England fishing village - turned artists’ community. Every other shop in the tourist district is a gallery. One of those was a Kinkade gallery. The year I started painting was the year that gallery had a going out of business sale – which went largely unattended. I consider that an omen of good luck. :smiley:

44

[QUOTE=Kalhoun]
(not to hijack, but Fessie, your website link doesn’t work. Is there somewhere I can look at your work?)
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Thanks for asking - should work now.
So, where’s yours?

45

[QUOTE=tdn]
I’ve looked around for watercolor instruction, and there’s not much to be found. Maybe I’ll have better luck with drawing. And yeah, maybe if I hit up some of the art schools in the area, I’ll find a lot more.
[/QUOTE]

I don’t run across a lot of watercolor instruction, either. Not sure why. The tips I recall are - use 90# paper, tape it down (with drafting tape, not masking), experiment with the amount of water (and by wetting the paper first), use brushes of various sizes (get a 1" brush at least, maybe a Chinese bamboo for fun), and try working dark-to-light (doing the dark areas first).

Oil painting and watercolor are opposites in one important way- in oil painting, you need to add more paint in order to make lights look lighter, while dark areas need to be applied thin (generally speaking - of course there are exceptions). That’s because light reflects off the surface behind the paint; thick, dark paint tends to get muddy. In watercolor, your lights are the result of using less paint. Really vary the paint-to-water ratio and see what happens.

I’m really glad to hear of your art school plans - I think you’ll have a lot of fun.

46

Oops, sorry, forgot one important thing (my kids are all over me) – buy some good paint. Get some professional quality (Winsor & Newton is excellent) red, yellow and blue (cerulean blue will give you a gorgeous sky; ultramarine is the water). Cobalts are good, avoid the pthalos, and don’t use this stuff around anyone who’ll consume it b/c it’s full of heavy metals. They’ll set you back $10/tube at least (sometimes Hobby Lobby has sales), but once you get over the shock & decide to use them anyway :stuck_out_tongue: , you’ll be delighted at how much more brilliant the colors are. Student-grade primary colors are awful (earth tones, meh, it’s not as big a difference). Watercolors last forever anyway - you’re using a plastic palette, right? You don’t even need the lid, the stuff dries out anyway but you just add water & you’re good to go.

47

[QUOTE=fessie]
Thanks for asking - should work now.
So, where’s yours?
[/QUOTE]

I just have a couple of snapshots I took. I’ve never shown it to anyone outside of close friends and family. I’m not sure I can take the criticism without throwing myself in front of a bus afterward, but here goes…

http://pg.photos.yahoo.com/ph/karlen1956/album?.dir=/b61are2

I have a couple others I’ve completed but haven’t photographed yet.

(Please disregard the arrangement in the large one…I’ve chalked flower arrangement up in the “Way Fucking Harder Than It Looks” column.)

48

Fessie, do I need a password?

49

[QUOTE=fessie]
I don’t run across a lot of watercolor instruction, either. Not sure why. The tips I recall are - use 90# paper, tape it down (with drafting tape, not masking), experiment with the amount of water (and by wetting the paper first), use brushes of various sizes (get a 1" brush at least, maybe a Chinese bamboo for fun), and try working dark-to-light (doing the dark areas first).

Oil painting and watercolor are opposites in one important way- in oil painting, you need to add more paint in order to make lights look lighter, while dark areas need to be applied thin (generally speaking - of course there are exceptions). That’s because light reflects off the surface behind the paint; thick, dark paint tends to get muddy. In watercolor, your lights are the result of using less paint. Really vary the paint-to-water ratio and see what happens.

I’m really glad to hear of your art school plans - I think you’ll have a lot of fun.
[/QUOTE]

I used to do a little watercolor painting. Heavy rag content in the paper is essential. Also, you can buy watercolor “pads” where the paper is already “taped” down to the pad by the manufacturer. It works very well and is an easy way to get into it to see if you like the medium.

Fessie’s recommendation on the paint is right on. Also, pick up some masking fluid. You can get some really nice effects with it and helps to keep your whites white.

50

fessie, may I gently fight your ignorance? :slight_smile:

[QUOTE=fessie]
I don’t run across a lot of watercolor instruction, either. Not sure why. The tips I recall are - use 90# paper, tape it down (with drafting tape, not masking), experiment with the amount of water (and by wetting the paper first), use brushes of various sizes (get a 1" brush at least, maybe a Chinese bamboo for fun), and try working dark-to-light (doing the dark areas first).
[/QUOTE]

90# paper is really really light. In fact I never see it in stores. 140# paper is better, 300# is fantastic. The Schooner painting was done on 300# paper. No warping! To wet or not to wet? Depends on the look one is after. Look at the Rachael painting. The face was done wet-on-dry, with lots of glazing (paint a layer, let it dry, paint another layer). The negative space was done wet-in-wet, letting the colors bleed together. The blouse was done with a combination of techniques.

I use a variety of brushes. A 1.5" hake brush is great for skies, as it holds approximately 385849 gallons of water. A #0 rigger brush is great for detail, such as ship’s rigging. My #12 round and #4 round are my workhorses. They get me through 90% of my work.

And you want to work light to dark. Watercolor is (mostly) transparent, so putting light paint on top of dark won’t cover up the dark.

As I said earlier, glazing is my thing lately. It’s a great way to avoid mud and retain luminosity. Paint a swath of yellow, let it dry, then paint over it with a thin wash of blue. You’ll get a fantastic green that you can never get in a tube. Take a look at the boat in The Captain. I didn’t mix any colors on the pallete. That’s all glazing, yellow, red, and blue in that order. There are probably more than 10 layers of paint there.

And I hear you on paint quality. I have never bought student-grade, and never will. Winsor and Newton is fantastic, but expensive. A lot of times, that’s all you can find in stores. Daniel Smith is superior, and cheap, but only available online. Sennelier and Holbein are great, when you can get them.

51

[QUOTE=Kalhoun]
Also, pick up some masking fluid. You can get some really nice effects with it and helps to keep your whites white.
[/QUOTE]

I’m of split mind on masking fluid. On the one hand, it’s a convenient way to save the whites. On the other, it’s a pain in the ass to work with (you’ll kill your brushes and maim your paper), and sometimes the result looks artificial and stupid. I avoid it when I can. Still, I could never have completed The Captain without it. Boat, ball, and gull were all masked out.

One hint on buying the stuff: Always examine it before buying. It should have the consistancy of water. If it’s stiffer than molasses, it’s spoilt. I have never seen W&N frisket that was not spoilt.

52

Hey, if you’re willing to invest in 300# paper, more power to you! Most people who spend money on quality supplies become so self-conscious about the cost that they cease to experiment, instead expecting instant success. Glad to hear you found a paint you like - I’m not familiar with Daniel Smith, but I adore Sennelier, particularly their dry pastels & Latour fixative.

You’re absolutely right that light won’t cover dark w/watercolor (although you can use mask, as Kalhoun suggested). I find it easier to put down the dark areas first, as landmarks, particularly when using watercolor; YMMV. Sometimes it’s fun to try a different approach, just to experiment.

I’m pretty sure that “glazing” refers to an oil painting technique in which you use various painting media (combination of linseed oil, solvent, and varnish, typically) in combination with paint to put down thin layers. In watercolor I believe they’re called “washes”. If that’s your method, then you definitely need the 300# paper. Personally, I can’t sustain the energy over a period of days like that.

You might like to look at Homer’s seascapes. I tried googling but didn’t find anything fast.

Kalhoun, I dunno about the password, will try later. Lovely bowls you’ve got there! Thanks for sharing!

53

(I figured it out…very nice work! I like your “bowls” too!)

Another thing about watercolor…invest in really good brushes. Nothing worse than a shedding brush, I always say.

54

[QUOTE=Kalhoun]
I just have a couple of snapshots I took. I’ve never shown it to anyone outside of close friends and family. I’m not sure I can take the criticism without throwing myself in front of a bus afterward, but here goes…

http://pg.photos.yahoo.com/ph/karlen1956/album?.dir=/b61are2

I have a couple others I’ve completed but haven’t photographed yet.

(Please disregard the arrangement in the large one…I’ve chalked flower arrangement up in the “Way Fucking Harder Than It Looks” column.)
[/QUOTE]

Kalhoun, I don’t know nothin’ 'bout Art, so I’ll leave that to the experts. I only know what I like, and I LOVE your work. Seriously beautiful stuff. I love the color choices in the first piece - the contrast of the inside with the outside is very striking without being jarring. The second piece makes me think of warm, rich old leather, like my grandfather’s old chair in the study. It says “security” to me in a good way.

If you ever decide to offer your work for sale, please let me know, I’d love to harbor a piece.

55

[QUOTE=WhyNot]
Kalhoun, I don’t know nothin’ 'bout Art, so I’ll leave that to the experts. I only know what I like, and I LOVE your work. Seriously beautiful stuff. I love the color choices in the first piece - the contrast of the inside with the outside is very striking without being jarring. The second piece makes me think of warm, rich old leather, like my grandfather’s old chair in the study. It says “security” to me in a good way.

If you ever decide to offer your work for sale, please let me know, I’d love to harbor a piece.
[/QUOTE]

Oh, thank you! I really appreciate your kind words!

56

300# paper is quite expensive, but well worth it in my mind. For day-to-day stuff, 140# cold pressed is cheap enough.

It must be that glazing means different things in different mediums. A glaze is simply a wash over a wash, in which the bottom wash shows through.

57

Let me be part of the Kalhoun pile-on – nice work!

[QUOTE=Kalhoun]
Another thing about watercolor…invest in really good brushes. Nothing worse than a shedding brush, I always say.
[/QUOTE]

Yes, however – No way I’m going to spend upwards of a hundred bucks for a kolinsky sable brush. Princeton sells a nice set of six for $14.95, and they’re fantastic.

58

[QUOTE=tdn]
I’m of split mind on masking fluid. On the one hand, it’s a convenient way to save the whites. On the other, it’s a pain in the ass to work with (you’ll kill your brushes and maim your paper), and sometimes the result looks artificial and stupid. I avoid it when I can. Still, I could never have completed The Captain without it. Boat, ball, and gull were all masked out.

One hint on buying the stuff: Always examine it before buying. It should have the consistancy of water. If it’s stiffer than molasses, it’s spoilt. I have never seen W&N frisket that was not spoilt.
[/QUOTE]

I found a new masking product that is a free-flowing “pen” thing that is great for thin lines as well as large areas. It’s called Masquepen. It has a pin in the cap to keep the tip flowing freely. I’m using it on my gourds. It definitely takes a little getting used to but INFINITELY better than the brush-on method. It’s the same stuff. Light blue in color. You might want to try it.

59

[QUOTE=tdn]
Let me be part of the Kalhoun pile-on – nice work!
Yes, however – No way I’m going to spend upwards of a hundred bucks for a kolinsky sable brush. Princeton sells a nice set of six for $14.95, and they’re fantastic.
[/QUOTE]

I’ve gone as far as $20 a piece (and that was a couple decades ago). If you take care of them, they last a loooong time. And you’re right…$100 is insane. There comes a point when you’re paying for reputation instead of performance.

(Oh…and, thanks!)

60

Waitaminute - TEN LAYERS of paint? tdn, if you really enjoy working in multiple layers, you’d love oil painting. What makes watercolor luminous isn’t more paint, it’s the paper showing through the back. Thick watercolors become flat - which can be fine, if that’s what you want; personally, I prefer a quick, minimalist approach. If you want truly rich color and enjoy a long process, then oils are the way to go.