Atmospheres & Backgrounds

     Welcome to my 200th post!  I hope I have been able to offer you insights into the world of a professional artist, and to give you valuable and useful suggestions to make your own art successful.  Thanks for sticking with me!

     One of the greatest attributes of watercolor is its’ ability to create lifelike atmospheric effects.  On a vignette this adds a realistic feel to the subject.  One of my blog friends, Shelley, has asked for some suggestions and help on her painting of a polo player. 

     I had originally planned to repaint her photo to the point where Shelley has hit the “background wall”, but I opted to use one of my photos that presents the same basic problem, and show you how I solved it.

     Here’s Shelley’s painting of the polo player.  Her questions to me were based on her uncertainty about adding the background.

Shelley's painting

    I will show my progression, without much fanfare, to get to the same point as Shelley.  I thought you might like to see the process.

     So here we are with a painting very similar to Shelley’s.  It’s a finished subject floating in a sea of white.  So where do we go from here?

     The first consideration before we ever get to this point in Shelley’s painting is to start integrating our background washes as early as possible.  Let me stress this again:  The way to integrate a background into a painting is to start early.

     My first step towards resolving my background problem is to just start the process.  I start with a wash of Burnt Umber to indicate dust being kicked up by the horse and calf.

      I let my first wash dry and prepare for another layer.  You should understand this will be a multi-layered approach of adding glazes of color to create my final effect.  

My second wash is Burnt Umber again, but I add some textural brushwork to break up the color and give it a painterly feel.

      Here’s the painting after glaze #2 of Burnt Umber is complete and dry.

     Now I add Ultramarine Blue to the background I created a basic cloud-like shape so the Burnt Umber would appear to be in front or in the foreground, in relationship to the blue.  No pre-planning was needed for this shape.  Dust clouds are rather random in nature --- keep it that way. 

     I also added a touch of Cadmium Orange around my cowboy subject.  I want an interplay of colors working together.  (If you want to study a master of cool and warm washes, get Thomas A. Daly’s book “Painting Nature’s Quiet Places.”  Daly is a master of glazing warm and cool washes to create this interplay of color).

     The details are hard to see in the photo, but I darken the shadow under the horse’s neck and add a weak wash of Cadmium Orange over the entire background.  This serves to unify the atmospheric effect and bring the total painting together.

     Shelley, I hope this helps. If you have problems with your background, don’t hesitate to contact me.  Good Luck!

Gaucho Demo & Finished Painting

     Today, I will give you all the information to finish your painting.  In this next image I start establishing my early light washes, which I will build on.  I used Cadmium Scarlett on the stripes of the pants, and then laid in some weak washes on the reins and breast collar of the Gaucho’s gear.

     The next step is to start building the folds of the shirt.  I want to get every portion of the painting moving along at the same pace.  The scarf is a weak wash of Cobalt Blue that will serve as the lighter color of the Panuela, or scarf.

     Here’s my painting after I’ve put in three background washes!  

The first was Ultramarine Blue over the entire background.  Next was a light wash of Raw Umber to knock the blue back a bit.  The lower portion of the wash is Light Red.  I will wait to see how the rest of the painting moves along until I add further washes.

     I’ve jumped around the painting, working in different areas, still trying to maintain an overall working method instead of working from one area outward.  I tend to have better value control.  As I bring up different areas in intensity, I personally make better value and color choices with other portions of the painting blocked in.

     The painting has neared the finished stage and I take one final moment to evaluate my progress.

     The painting is now complete after darkening some crevices and adding a unifying wash of Cobalt Blue over the entire background.  Very little of this wash is perceptible, but it works to neutralize and unify.

     Thanks for tuning in for the demo and let me know if I can help with any specific problems you might have run into.  Remember, there are no bad paintings if you learn from the process.  Good luck!

Gaucho Demo - Week 2

     Our next step is to add the first layer of skin tone to our subject.  This will be a mixture of Alizarin Crimson and Burnt Sienna, with a touch of New Gamboge to keep it warm.  (Below)

     I apply this as a bold wash that covers everything I’ve done so far.  Scary, but we all chose watercolor for a reason.  Now we must play its’ game.  Don’t be shy here.  We will paint over the whites of the eyes and all of our previous work.  Let this latest wash air dry completely.

     Now with our initial skin tone wash in and completely dry, I go back over my shadow areas in the face with another wash of Alizarin Crimson and Burnt Sienna.  I also put in the darks of the Gaucho’s hair, as well as his facial hair.  This is a mix of Burnt Umber and French Ultramarine Blue with a touch of Alizarin Crimson to darken it. (Below)

     It doesn’t appear in this photo (below) that much has changed.  These are subtle modifications but they are important.  I added a very light wash of Cadmium Orange over the entire face.  This wash infuses realistic warmth to my subject’s skin tone.  I also add a very dark wash of Ivory Black and Alizarin Crimson to the hat.  (I want to get the dark tone of the hat closer to the image of the photo).

     We’ve accomplished a lot in this phase, so we’ll stop here before tackling the clothing of our subject.  Be sure and contact me if you have any questions.  Good Luck!

Gaucho Demo - Day 1

     OK, we’re ready to start our painting!  My first wash is a mixture of Burnt Sienna and New Gamboge.  I take this mixture towards the Burnt Sienna side, since the Gaucho’s complexion leans toward a darker, more ruddy tone.  Keep this the consistency of tea, and the value rather weak.

     My next layer will be a purple mixture made from French Ultramarine Blue and Alizarin Crimson.  With this mixture, I’m going to be establishing some form in the face.  This next step will be slow and deliberate because I want to make sure that I create a likeness to my subject.  This is no time to rush or get flippant with paint applications or color decisions.

     I want to focus a lot of time on the face.  Let’s agree that if the face isn’t a dead ringer of my subject, then there is little point in moving on.

     I also decide that I will work on the Gaucho’s hat.  With that bold, dark addition to my central point of interest, I want it established before I start the next critical stages of the face.

     We’ll stop here so that you can concentrate on getting this important phase of the painting locked down before we proceed.  Good luck!   

Headin' South....Way Down South!

     OK, it’s time to abandon thoughts of cats and the economy, and get back to serious Art.  I’ve decided to take you along on a little journey to one of my favorite places on the globe….Argentina! 

     Over the next 2 or 3 weeks, I’m going to do a painting demonstration and our subject will be an Argentinian gaucho.  This painting will be my donation piece for the 2012 South Texas Charity Quail Hunt at the King Ranch in South Texas.  The photo is from my 1998 trip to Corrientes in Northern Argentina, and is an iconic representation of these master horsemen.

     If you’re going to work alongside me, you can pull this line drawing off this blog, or I can email it to you, if you prefer.  You will have a week to complete the drawing before the next stage and blog post.

     I will be painting on Arches 140 lb. Cold Press, and will be using a mixture of Gouache and Watercolor.  You’ll be able to see how using Gouache/Watercolor and a dry brush technique in the final stages will greatly enhance your painting.

     Good luck and I hope you enjoy the process!

How To Cheat

     I wouldn’t say I was a “master” cheater in my school days.  First of all, there is no reason to cheat if you’re not in class.  My truancy problem was much more significant than my cheating problem.  This was due to my unique ability to pen my father’s signature better than he does!  So now we have forgery combined with truancy. 

It was a perfect little storm for a 7^th-grader who was absolutely terrified of anything having to do with Math.  Thank you, Mrs. Bernal, for your exemplary teaching methods.  If that’s the truth sounding like a grudge … I’m just sayin’.

     So here’s the one cheating episode I can remember.  The class?  World Geography.  The assignment?  Name every freaking country in the world!!!  The Solution? Carry a flair pen with the answers written with a #000 rapidograph pen and rolled up and stored in the back of the pen.  By cutting the ink-filled fiber insert in half, and then cramming a piece of #2 pencil eraser between that and your piece of paper with the answers, you can create a workable space for every country you’re never going to visit, care about, or see on a test again.  Boom! Winning!

     So, is it possible to cheat in watercolor?  Well, for those wacky European Traditionalists, all you have to do is use Ivory Black or White paint.  That alone will send them skyward.  I really get tired of these elitist snobs. 

     Hell, if you want to paint your watercolors with flower pollen and water, be my guest.  But don’t keep setting up your rules for me to live by.  Here’s the deal.  I will use any reasonable means necessary to create the image of my painting that is in my head. 

     I don’t want to go all Zen on you, here, but I visualize my finished painting in my head.  The tough part is getting there.  Making the jump from the painting in my head to the painting on my paper is where I sometimes use other methods and materials to reach my goal.

     So what are some of these “Cheater” tactics?  Nothing terribly exciting, and I have advised you on some of them in previous posts.  I think you should have them all loaded as part of your ammunition, and be adept at incorporating these materials and techniques into your work:

1.   Gouache – I keep a set of transparent watercolor and a complete set of gouache on my palette most of the time.  I am not too proud to bump my color intensity or darks with gouache, if I feel it is needed.  If you try it, you will be a fan.

2.   Masking Fluid - I am not a fan of masking and I try to avoid it, if at all possible.  But there are times when I must use it to get to the picture in my head.

3.   Ox Gall - This solution makes your paint flow with less surface tension.  If you need atmospheric effects, it can be deadly.

4.   Gum Arabic – This reduces blooming on wet-into-wet washes.  Have you ever had to do one of those 22 x 30 washes that you want to look uniform?  Don’t go crazy with this solution, but it has its place.

5.   Table salt - Need mottling and texture on leather?  This is a good place to start.  Experiment before you move to your good work.

6.   Watercolor pencils and Prismacolors – Sometimes I need to bump a highlight or just add a bit of reflected light.  These work beautifully.

     So, now you know my stable of “Cheater’s Tools”.  Here are some others you may wish to consider:  oil-painting palette knives; razor blade scratches in my paper; squirt bottles and spritzer bottles; crow quill pens loaded with watercolor or gouache.  Also check into Nita Engle’s stamping method.  She is a master at “cheating”.  And she does kick-ass paintings!

     I know I’m missing some of my techniques, but I just want to tell you not to be limited by your materials.  The fabulous painter Oleg Stavrowsky once said one of his favorite paint application tools was the heel of an old shoe.  If it’s good enough for him…. The only limitations on painting are the ones you put on yourself.  Good luck…..cheater!  

Don't Get Mired!

     I wanted to talk to you today about something that might seem trivial, but can actually impact your painting in a huge way.  Have you ever considered switching up your brush selection?  Too many watercolorists (in my humble opinion) get mired in a rut of using the same three brushes.  I know there is a sense of security in familiar brushes, but don’t get stuck with playing it safe with your “tried and trues”.

     We’ve discussed some of my favorites in the past, but let’s go a bit more in-depth.  Let’s look at some brushes you might not have considered.

     ROUNDS – Let’s get our Rounds on the table right off the bat.  We all have our favorites and 95% of our painting is probably done with some type of round.  My favorites are Winsor & Newton Series 7s and Silver Brush Co. Black Velvets.  These are my most used, “workhorse” brushes and I am guilty, like most, of leaning on them too often.  They’re a must, but let’s look at an opportunity to use a different brush.

     CAT’S TONGUE – I discussed the Cat’s Tongue in an earlier posting.  This has become a staple in my paint box.  The Cat’s Tongue allows the artist to produce a wide range of paint applications.  Fine cut-ins and larger washes can be done with the same brush.  I find it particularly useful for painting backgrounds around foreground images.  The Cat’s Tongue also charges up with a lot of water, which I find a plus.

     My next favorite brush is a LANGNICKEL 5590 Sable Flat.  Richard Schmid made these brushes famous when he used them for his oil paintings, but the Sable charges up nicely for watercolor work, too.  They last forever when used as a watercolor brush and are relatively affordable.  When you want a flat hard edge, the Langnickel fits the bill.  I also like to buy cheap synthetic flats in small sizes, for doing small details like rope work.

     My final suggestion for a change in your brush inventory falls into the Round Category.  These brushes are made differently and have an interesting look.  Typically, the ferrule is wrapped with plastic and wire.  The brush is full-bodied, and holds a lot of water.  It makes a large, round stroke and I find it particularly useful for foliage and plein aire painting.  I actually have two favorites that I prefer:  the Isabey #0 Onyx in Kolinsky Sable, and Winsor & Newton Series 250 Squirrel brushes in sizes 2 and 3.  

     Give these brushes a try and see if they don’t change up your technique and add a new dimension to your paintings.  Good luck!

   

White Dogs Are Tough: The Wrap Up

     My final pass through the painting requires beefing up the muscle forms and modeling. I add some Cadmium Red to warm the underside of the chest that is receiving some reflected light. 

     I also use my white gouache to indicate some wisps of hair in the lit area.  My background washes had bled into some of the areas and polluted my first gouache application.

     At this point, I don't want to overdue it, which can be a temptation to a lot of painters.  The simplicity and "cleanness" of this painting is what I find so appealing.  So I decide that at this point, it is a finished painting.

     I hope you found this portrait interesting and helpful.  It was a difficult undertaking, but I’m pleased with the final work and I hope my collector will find it a welcome friend. 

White Dogs Are Tough: Day 4

     I start Day 4 with the knowledge that I need to establish some washes in the background.  I realize that to make Sugar appear to be a white dog in shadow, I will need to darken the background around her.

     Remember, with watercolor, the only way to lighten a color is to preserve it from the beginning, or darken the area around it (darkening the value around a color makes it appear lighter).

Background Washes

     I lay in an atmospheric wash of Burnt Sienna and Ultramarine Blue to form a nice gray.  I then start layering in several glazes in sequence …. Burnt Umber around her legs and feet and an even darker glaze of Cadmium Orange and Ivory Black.  My shadow on the ground is a mix of Sap Green with Alizarin Crimson to gray it down.  I keep this simple so I don’t distract from Sugar’s head, my center of interest. 

     Tomorrow, we'll wrap it up!

White Dogs Are Tough: Day 3

     We’ll start today by concentrating on our washes.  The next wash will separate my light side from the shadow side.  This is also a preliminary wash that sets an overall tone for the shadow side.  This particular wash was a very weak wash of Cobalt Blue with a touch of Permanent Rose.

Photo 5

    

Things seem to be progressing nicely and I feel as though I’m generally heading in the right direction.  I’m still moving slowly and making very measured color decisions. 

     I’m having a bit of trouble judging the value range because my darkest darks are only the nose and eye, while most everything else in my subject registers in the Value 7 or 8 range on my scale. 

     To get a better feel of the value range in my painting, I decide to add white gouache to my lit area.  This is the “pop” we discussed earlier, and I think having my lightest lights indicated will make judging my values and colors a bit easier.

Photo 6

Photo 7

     Photo 7 shows all the gouache whites added.  Additionally, I start sculpting some of the descriptive forms in the dog’s body.  This was completed with my usual purple mix of Ultramarine Blue and Alizarin Crimson, with a bit of earth tone to soften the hue.

     Tomorrow we begin the background.  See you then! 

White Dogs Are Tough: Day 2

     OK, we’re ready to start our painting, and since I must achieve a dead-on likeness of the subject, I chose to begin with the drawing of Sugar’s head (Photo 1). 

Photo 1

     I wanted to make sure I captured a perfect semblance of her before I invested several more hours of additional drawing.  If I don’t peg a likeness in the head and eye, I see no use in continuing the process.

     In Photo 2, I used some Burnt Umber and Ultramarine Blue to establish the darks around the eye, and darks in the nostril.  I also laid in some preliminary washes in the nose and ears.

Photo 2

     At this point, I’m going slow and being very careful.  A snap color decision here can ruin my early efforts, so I’m evaluating my color choices with care.

Photo 3

     Photo 3 shows the collar blocked in with its first wash, and at this point I felt comfortable enough to continue on with completing my drawing.  I used a soft B pencil and very quickly indicated some of the form in the muscle groups.  With long-haired animals, the muscle groups don’t show up so well. 

     To define my subject, I must depend on edge changes in my photo and look for the subtle value changes that will make up my portrait.

     With the drawing completed, we’ll start on washes tomorrow.

White Dogs Are Tough: Day 1

      I debated whether or not to pursue this painting as a demo.  Initially, I discounted it because I felt there just wasn’t enough going on in my subject to make it a good demo piece.  After some thought, I concluded this is actually a perfect demo painting because it presents several challenges, that as painters, we must deal with in a logical, well thought out manner.

     As I see it, the two greatest hurdles we face with my photos of Sugar, the English Setter, are the following:  1) There is a very compressed value range, and 2) I’m going to try to paint a white dog with a very limited pattern and virtually no color indications.

     This painting is a commissioned work for a very good friend and collector, who is a lover of good working setters.

     Prior to starting the painting, I had some decisions to make.  My first major decision was which paper would be appropriate for this subject matter, and would actually help me with the process, since I had the two hurdles to deal with.

     I had one piece of a cool gray, handmade paper I had procured many years ago.  I knew that my whites would “pop” on this paper, but my shadow side might be a bit more difficult to deal with. 

     Everything is a trade off and this paper selection would be no different.  I also made an early decision that I would probably need some gouache to bump the intensity of my color.

     So now that I’ve identified my subject matter, and am aware of the issues I will be dealing with, we’ll begin tomorrow with the preliminary drawings and start our painting.