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| "Where artists become better artists" |
| Copyright © 1999 * Art In The Mountains * All Rights Reserved |
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Choosing a painting subject is not difficult---the subjects seem to find me. Walking, observing, sketching, taking photos---all offer opportunities. One thing that these concepts have in common is their ability to inspire a strong emotional reaction. Sometimes the subject is somewhat unconventional, not necessarily commercial or attractive. I prefer people going about their business rather than posing. I enjoy cityscapes with movement, light and color. Shape and value are prime considerations. Working in the mediums of transparent watercolors and acrylics and reacting to what is happening on the paper produces a more personal statement. By alternating between poured washes of transparent watercolor and the more forgiving opaque mixed media, I become more sensitive to alternative choices of color and composition. While I plan ahead to place and save the white shapes before pouring the transparent washes, I remain alert to what is happening on the paper.
of the paper without mask, mixing of pigments and the later addition of masking some shapes will be covered. Afternoon Students will be pouring on quarter sheets of Arches 140 cold press paper. This sheet will be stapled to a gatorboard. Students will be working on their small paintings. A half sheet of Arches 140 cold press paper will be stretched on another gatorboard to dry overnight. Students may wish to have a simple landscape or floral design for their small piece. Instructor will also offer some suggestions to keep this first small design large, SIMPLE shapes. Tuesday Morning Demonstration of various masking techniques. Individual attention will be given to the students as we work on the half sheet. Students will bring their own resource materials. These may be photos (black and white Zeros prints or color photos), sketches, their earlier painting, etc. It is important to look for a SIMPLE design with large sharps and a full value range, from white to dark. Afternoon For the rest of the day the class will work on their small value studies in preparation for painting on the half sheet. Individual attention combined with pertinent short demos will complete the afternoon. Texturing with a variety of masking “tools” will be covered. Students may wish to create a sample sheet of textures for future reference. Wednesday Most of this day will be spent painting. Discussions will include pigment properties and how they affect the paintings’ “mood”. We will also discuss color and its use to unify a painting. Also covered will be “dominance” by selection and restraint. Thursday Today will start with a short lecture and demonstration using some acrylics, as well as gesso. We will discuss the use of the contrast between transparent and opaque pigments as a design. Element. Students will continue painting with each student receiving individual attention as needed. Friday Students will complete their paintings. There will be a general review of materials and methods, and then a critique for all participants. Students will be using the beauty of transparent watercolors to interpret the shapes and colors of their own unique visions. This workshop will emphasize the creation of paintings with the freedom and spontaneity of flowing pigments while still retaining the beauty of the white paper. Daily demonstrations will include Jean's "pouring luminous washes" technique - a fun way to balance "chaos" and control. In addition to traditional watercolors, the class will investigate the use of acrylics, gouache and metallics. Each day will also include discussions on making stronger paintings through more dynamic composition and color. Individual Interpretation of representational subjects will be stressed so that participants can make a more personal, creative statement. Individual attention as well as group critiques will aid the class in making the "pouring" technique a part of their interpretation of the light that brings life to whatever it falls on, in and around. |
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