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WATERCOLOR BOOKS PDF

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Watercolor Books Pdf

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Hallo everybody. I found several books on watercolors freely downlodable here: myavr.info Searching for “watercolor” appears a long. Posts tagged with: watercolor book pdf free download. Tag: watercolor book pdf free download. Let's stay in touch, subscribe to my newsletter. * indicates. myavr.info - Free download as PDF File .pdf), Text File .txt) or read online for free. Watercolor book of Joseph Zbukvic.

Ordinary light globes have the wrong color cast and will trick your eye. I know some of you will find all this somewhat obvious but I wish somebody had shown me some basic rules when I began my journey. If you paint at night you must invest in some "daylight" globes. Why make the difficult act of watercolor painting even harder then it is? I have a purpose-built studio which I designed myself. You should have enough room so that you can step back and look at your work from some distance.

This was knowledge learned the hard way. There's nothing worse than getting paint splatters on that brand new. I have also seen students spill paint on top of their work because they had their water on one side of their painting and their palette on the other.

Think how impossible it would be to keep an eye on your work while your arm is reaching over your painting towards your palette or water bucket. Ergonomics has to do with the efficiency of movement. Your studio should have plenty of safe storage space for your paper and sketches. You should also have a large mirror that you can use to check any faults that might otherwise escape notice. The light also reflected from my palette so I could not see what I was mixing! That's the beauty of watercolor painting.

A large skylight directs light onto my work from my left side. If you do paint in the kitchen at least set yourself up so that everything is ergonomically arranged. For instance. Remember that the chains of bad habit are too weak to be felt until they are too strong to be broken! It's quick to set up and pack up. I stand up when doing major washes or large paintings.

You must never grip your brush in a white knuckle fashion close to the tip. My studio is also fairly modern and has little resemblance to the old-fashioned. Always relate the size of your brush to the size of the shape you are painting.

All this material must be easily accessible because it is so easy to lose inspiration and momentum at the best of times.

I find that I always end up using the floor as well as all the tables for my references. I like to sit most of the time and have a comfortable drafting chair on wheels for that purpose. If you must use an eraser please use the softest one you can find. This is certainly better than having bands of smudgy marks left by an eraser.

There is just one way to hold a brush correctly! You must hold it lightly and as far back up the handle as possible. Easel Your easel should provide a flat surface with a variety of angles. I quite like to leave pencil lines as part of the finished work. If you prefer to stand while working. Ultimately the studio has to suit the artist's personality and it must be comfortable. First of all. Brushes Just like the tyres on your car.

Even the best. I have collected many bits of memorabilia while on painting trips and I like looking at them from time to time and reminiscing.

It's quite simply an impossible thing to do. Pencils Your pencils should be of medium hardness such as 2B or 4B because pencils that are too soft tend to smudge and produce dirty drawings.

On the other hand. I use a clutch pencil because it stays the same length. How will you cut around any square shapes if your brush has a round tip? Have a good range of brushes. By the time you have found what you are looking for you will probably be angry enough to tear it into a thousand pieces!

Which is certainly not conducive to painting. Most of all. It is imperative to use a beautifully sharpened pencil. It's all so logical. Big "O" and. They need not be the most expensive in the shop. It should be sturdy but easily maneuverable. Even your largest brushes must be pointy. I like to listen to music while painting. You are better off with two good brushes than 20 useless ones. You cannot produce a good drawing with a short.

Large brush for targe shapes. I find sable brushes too soft and they lose their points quickly. You should restrict erasing to the very minimum or. However pans are great for travel and for making small sketches because they don't spill. Or I use block paper which is already stretched. One day I went out on a painting trip and discovered I had left my palette behind. Not only will cheap colors fade but. They will not flow or mix on the paper and you will miss out on that wonderful watercolor translucency.

I have seen countless students trying to work with tiny water containers that barely hold a cup of water.

Some people just can't leave their work at work! If you need to use that old credit card for scraping. Buy a light board which is easily maneuverable and keep different size paper to suit it.

The brush should dance freely across the paper without ever losing freedom of movement and dexterity. Others use a smooth surface to create highly detailed work. You can see my list of colors on the opposite page. So you need not own every tube ever known to man. That will give you plenty of room to swish the brush around. When you set out to buy a palette you'll find there are plenty to choose from.

Whatever makes you comfortable and makes the difficult job of painting watercolors easier. I had to use one of the hubcaps from my car instead! Another time when short of a palette I picked up a milkshake container from the trash bin and fashioned that into a palette! Nowadays I keep one palette exclusively for outdoor work. Pigment Never ever think of watercolor as paint. Never dab or puddle!

Use confident strokes with the outmost economy. You should always paint without touching the paper with your hand. You need a large water container that will hold at least five pints or more. Water container When I first began to paint so many years ago I used a white dinner plate as part of my equipment.

Most of my students seem to have reasonable palettes but I have seen some amazing things. Some artists prefer a rough surface. This gives me the flexibility to range from broad washes to relatively small details. I believe watercolor in tubes is best because it can be used liberally and is gentlest on the brushes. For outdoor work I simply tape the paper down to my board with some masking tape. Before I paint larger scale work I stretch my paper by soaking it first and then I tape it down with gum tape.

After all there are only three colors — red. Paper Paper type is your choice entirely. You might consider two containers in order to have access to clean water. Miscellaneous items There are other numerous bits and pieces we use when painting and I have certainly seen some peculiar equipment in my time.

The board you use to tape the paper onto must be primed or sealed in some way to prevent staining. Whichever you use don't be too stingy. Four or five variations of each primary color are enough. I think most artists own too many tubes of various colors. There was a student who had a full set of dentist's tools by his easel which he used for tiny details. Even the word itself describes it as "water color". The style of painting will determine the type of paper.

The surface I seem to use most of the time is medium texture. If you don't do much work on location I strongly advise you to start. I cannot overemphasize the importance of working on location. If I had to name one single factor that lifted my work away from the ordinary it would be my journeys into the Great Studio Outside.

It is crucial. Thank goodness for the ignorance of youth. Watercolor is a perfect medium for this because it is quick and portable. When I judge art competitions it's easy to see which paintings were done exclusively in the studio or done in the studio from photographs.

I watched artists in the movies and thought that was how it was done. Initially I did it out of sheer ignorance. Photographs also give a false impression of color. To give just one example. But when you do take photographs. It cannot discern mood -unless you are an extremely competent photographer.

It is a good idea to park your easel well out of the way of pedestrians. It is imperative to work outdoors from time to time to keep that magic touch alive. In photographs the tonal values are totally skewed. Many people work from photographs. So make on-site sketches and drawings and only take photographs for reference and to jog your memory in the studio.

As usual. It is also important to position your easel where you will be safe. The on-site painting The third and I have to say the most important stage of painting outdoors is trying to complete a presentable painting there and then. I would run a mile if I saw somebody approaching. It is by far the most difficult but also the most satisfying painting you can do. Many of these sketches have "grown" to become prize-winning paintings.

It holds the paper and all other equipment necessary. Be happy to take home the sizzle and not the steak! You can always add detail later in the comfort of your studio. For this you will need a small paint-box with a few brushes and a sketchbook. It is important to draw as much as possible because time spent observing the subject will result in a well-composed picture.

This is a neat briefcase with fold-out legs. It's interesting that nobody would think of bothering the plumber or any other tradesmen while they work! After many years of struggling with easels primarily designed for oil painting I decided to design my own easel specifically for watercolor painting. Some are done sitting in a car or cafe and others while simply leaning on a lamppost. Every line is precious. Nowadays I meet many people this way because for some reason everybody has to see what you're doing and.

The color sketches The second stage of outdoor work involves coloring those drawings or completing rough sketches in paint only. The drawing You require very few items of equipment for drawing outdoors — a sketchbook and some pencils. In fact. I carry water and my camera in a small shoulder bag.

For this you will need some kind of easel and most of your studio equipment but. It is also easier to see your painting in its own right in the studio and judge it on its merits and not against the subject. I believe drawing is an art form in itself and is very much neglected. I often regret having to cover a lovely drawing with pigment. I carry a briefcase wherever I go that contains all I need to execute a quick sketch. Avoid erasers at all costs. At first I was very self-conscious when doing this.

Don't use a red one. I will go into this in more detail later. I call it recharging the creative batteries. Don't wear sunglasses. If the quality of the light is dull. These excursions will not only produce paintings of high artistic merit but will also inject special qualities into your studio work. This time however. I never meant to include Herman but when the painting was completed it desperately needed something in the foreground.

If the quality of the light is bright you are likely to end up with a vibrant painting full of color and sharp tonal contrast. You must avoid working in full sun because this will dry your painting way too fast.

The true subject of this painting is the morning light. A hat is a must not so much to protect you from sunburn but to stop your eyes from being blinded by the light.

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Working in strong sunlight will trick you into painting too dark because you will be compensating for the bright light. How will you see the subject and its detail if you are forced to squint? The wind. To prevent this problem you could do as I do and carry a small white sun umbrella to provide shade. You'll see the same cottage in the middle ground in my mood scale demonstration. When he got home he wondered why his painting looked so cold. He is a true eccentric and makes me laugh endlessly.

As soon as I feel it's good enough. As a consequence. I chose a quarter-sheet for this one because it was a good manageable size. I taped the paper at its perimeter with masking tape onto my Z-easel. The other advantage of painting into the light is that your work will be shaded.

This is particularly handy when you are painting extremely complicated shapes. The easel has a work plane that can be adjusted to allow me to paint at several angles. Here my water. This not only saves time but it allows you to concentrate on the mood. If you paint down the light. Backlighting allows you to eliminate the detail to a great extent. W hen you paint into the light the objects are reduced to a silhouette.

I start to paint. When I paint on location I never paint larger than half-sheet. I don't stretch paper less than full sheet size.

You'll see how I did this on pages Ultramarine Blue. Cadmium Red and Cobalt Turquoise. When I feel I have put in enough. When you paint things like this tower. All the shapes must be joined by the flow of the same wash or you will end up with an unrelated and unconnected series of shapes. This time a barge pulled up in front of me and. I let this dry. I stop. This is used for sustaining the buildings. This was unloaded with much shouting and help from passers-by.

I am beginning to regret selling paintings done on location because each one has a particular memory of the time spent painting it. Once the major shapes are in place the "jewelry" — the birds. One could spend hours doing this and it's an easy trap to fall into.

You also have to hint at the architectural shapes and darker values within the major shapes while the wash is wet or damp so that these details melt into the wash. I have ruined too many paintings on location by continuing to paint every bit I see. If you paint such details may have a "stuck on" look about them. These details come last and I am using a rich mix of pure color. You can always add more detail when you return to the studio.

Towards the bottom'l increase the strength and color of the wash to resemble milk consistency. I leave white highlights for future use. I avoid using too many colors because I want to avoid disturbing the harmony. No photograph could tell that story. Any corrections can be done while the wash is wet. I made another painting of this scene back home in my studio.

For a moment I thought I would become a part-time piano mover as well! There is simply nowhere one can set up an easel without being in everybody's way.

I was able to sneak in and I only wish I had a photo of myself painting with a barrier separating me from the throng — I imagined people thought the barriers were purposely placed there just for me. I rely on photographs a great deal but I refuse to copy them. Although they can never capture the atmosphere and mood the way our painting does.

If you do find a quiet place it means there is nothing much to paint there! I came upon this painting spot one day and couldn't believe my luck because the road workers had left barriers to protect an area of wet concrete which had dried days ago! Italy is not known for being too organized. After a while a huge crowd formed to watch me! Maybe I should have passed the hat around when I finished?

We are known as the "Winterlude 6". My companions also make good painting subjects. It is very important to mix with other artists otherwise we can become "a legend in our own mind" and become very mannered in our style. We work hard all day painting. Quite often the landscape is bereft of figures and having a couple of artists painting in the scene certainly changes the message.

By the way. I can honestly say that we are better people and artists because of our friendship. Every winter I indulge in a wonderful painting trip with my five artist buddies. We sing. We also play hard and have an amazing time together. The practical jokes never stop. I was lucky on the day to have this beautiful sky. The trouble with this trip was that it was in the middle of wine country!

Talk of opportunity making a thief! The horizon was also created into the moist wash. This was painted on one of the Winterlude trips with my five best pals or. I'll tell you more about Mother Colors later on. The only hard edges are around the white paper. Throughout this book you will see other examples of work created on this trip. It takes m e back to m y childhood. It's a subject that has been tackled by many Melbourne artists because there is an observation deck on the building's top floor.

I guess. The only way to charge your creative batteries is to go to the great studio outdoors. There is a lovely Mother Color of Cadmium Orange permeating throughout this painting.

I managed to get most of those by cutting around and leaving gaps in the second wash. It was painted in one go while the wash was wet. The late afternoon light created soft warm highlights on the branches and the workers' backs. They must not overtake the major shape in the painting which in this case is the old wooden bridge over the Murrumbidgee River at Gundagai.

That's why it is somewhat easier to paint from photographs because they don't change. Whatever inspired you to paint that subject in the first place should stay in your mind's eye. It is so easy to overwork them and end up with the wrong message.

When you see a subject and start painting you must continue the theme and not change your mind. In which case. This painting was done on location and by the time I had finished it the sun was fully out and the scene looked nothing like this.

Reflections are simply a flat repetition of the objects causing them. In the studio you can plan the painting process much more carefully and change your mind in an instant by choosing a different subject from anywhere in the world! It's just a matter of looking through your references and deciding what you want to paint. There is also no urgency to complete your work due to the changing light or weather. They are fairly light and not too tight.

Don't try to compete with the subject. You can even return to your work the next day. All my large-scale work is produced in the studio and. No amount of painting will disguise a bad drawing! The major benefit of working in the studio is the ability to concentrate on your work. While the great studio outdoors provides ample inspiration it is also very restrictive in terms of the size of the work and because of changing light and time limitations.

Most of my outdoor work is polished up at home and in this case most of the figures and much detail were handled in the studio. Therefore the studio is a comfortable and safe environment in which you can produce larger. The drawing should have character already and feel right. It's the very beginning of your painting on paper and if it's not satisfactory there is no point going any further.

The studio provides constant light and your reference remains static and can be analyzed at will. When you bring your painting to completion in the studio. Mind you. There are no interruptions just when you are in the middle of a major wash. The studio provides a comfortable environment with all your references at hand and.

You must leave quite a few highlights all over the painting as required. However you are probably used to this obstacle and know how to overcome it. Large paintings require a lot more information or they can appear empty. It was imperative to make the foreground as strong as possible That is why I painted the cows so prominently in the foreground.

The water is quite simply a wash of Cobalt Blue. I just pick up a bit of any dirty leftover pigment on the palette! I assure you that as long as you apply the wash quickly. I was particularly pleased with the background — the shadows running across the foothills create an interesting pattern. The thin strip of white paper keeps it from running onto the footpath.

Reduced in a photograph like this they can appear too busy! In real life size this work has just the right amount of detail. I also gray-off the footpath. Note that texture in the foreground. If you are left-handed I advise you please to start from the right side to avoid smudging the work with your hand. I had to be careful not to overwork this and bring it too much forward and lose depth in the process.

I used a sprinkling of salt as well as some water droplets to create this. The color is not important as long as you keep it really pale. I make use of the dry paper and leave highlights for the future. You can see the introduction of the next stage at the bottom of the picture.

They all make sense and provide good advice to the beginner and accomplished artist alike. It's far better. The subject was truly magnificent. Burnt Sienna and Ultramarine. Don't make it look like an oil painting. You start painting the moment you look at the subject. They have to be painted quickly and elegantly. No second chances!

The jewelry is next. The distant buildings are cooler and contain a variety of blues as well as Permanent Magenta. The wall is a slightly paler mix of Permanent Magenta. Don't forget the highlights! The main buildings including the tower are painted next using a milky wash of all the colors I previously mentioned. I made a small sketch of this scene at the time. Burnt Sienna. Painting should tell you the story of light.

There was a wonderful. These give sharp contrast to the light footpath tone. Needless to say the paint would not dry and I was frozen. Some of them are my own interpretations of knowledge gleaned from art books and some are direct quotes from my artist friends. In the same town a friend of mine was given a parking ticket for placing his easel on the double yellow line!

Very efficient police work! It's never too hot so the paint doesn't dry too quickly. The waves are mainly Cobalt Turquoise. I decided to run up and down the jetty to warm up and by waving the painting about. Within minutes the archetypal English "Bobby" arrived and asked me to desist because I was alarming the locals!

This is the only time I have ever nearly been arrested for painting watercolor. All those buildings nestled on the water's edge. When you do this you must use a fully loaded brush and let the colors run into each other and mix on the paper.

When it's your turn to try this painting. England provides perfect conditions just made for watercolor painting. The location of that story should be secondary. Be true to watercolor and let its intrinsic value shine. It's a pity that I tend to fall on my own sword and sometimes forget to listen to my own advice. Light Red and anything else that takes my fancy.

I use some opaque paint here and there if I find a good spot to liven things up. You will always find the answer somewhere on its face! When I began to teach watercolor I found myself having to put into words concepts that up until then had been purely instinctive.

I looked at numerous instruction books on watercolor techniques only to find complicated diagrams. They simply contained many tricks using everything but brushes. Please take the time to read it carefully because once you are familiar with the Watercolor Clock you will never again wonder how to leave a particular brush mark or achieve that special effect.

It has been an invaluable teaching aid because it covers just about every possible watercolor technique using brush on paper.

Because of its circular shape and dependence on timing I decided to call it the Watercolor Clock. It is my hope that the Watercolor Clock will help you conquer what is surely the most difficult medium of all. This elusive. I decided that I had to come up with a simple and easy to understand "driving manual" for watercolor painting. Properly understood. You will always find the answer somewhere on its face and. We will now look at the physical quality of the pigment and what happens to it when we place it onto dry.

Needless to say such a painting comes out lacking depth because everything has the same tonal value. Here's how it would look on the watercolor clock: Best for misting effects. You've already painted your first. The time to do sharp effects. Throughout this book I will give you examples of the Watercolor Clock so you can see the best consistency pigment to use at different stages of the painting.

A good time to lift pigment and to scratch out. Perfect for soft wispy clouds or barely discernible shapes in the mist. It is strong enough to create a contrast with white paper. A wash of such consistency will leave behind quite a tone. It is rarely used to paint individual shapes unless they are surrounded by a darker value to define them. It should be sticky enough to completely cover the surface of the palette but runny enough to easily spread over the paper.

This is your weakest wash. I am referring to a fairly runny variety. Still not strong enough for the darkest darks but will make light areas appear lighter and create great contrast with white paper. If you do the tilt test with your palette. It also creates a medium contrast against white paper and is probably one of the most frequently used washes. It should be reserved for the very darkest darks when finishing your painting with those last magic touches.

In lighter key pictures the COFFEE consistency can be a predominant wash and when contrasted with something much darker can provide most of the atmosphere.

It will bead readily and spread easily. It is perfect for backgrounds and gentle shading. Great for pure color statements when creating strong. This mixture will move lazily on the palette.

Think of a nice weak cup of English breakfast tea.

It can be dry brushed effectively. Don't dry brush it too much.

The essence of watercolour. Hazel Soan

Cream is the best mix for dry brushing. It must also be used sparingly and directly or it will look dirty. It will stick to the palette like honey and should not move even if the palette is vertical. No milk or cream. Great for broken edges and foreground shapes. Painted on damp or moist paper you can create distant ranges. A MILK wash has to be handled carefully because it will quickly become muddy if brushed too much. Cream mixes are generally reserved for large dark areas such as shadows.

Coffee consistency can be used for many shapes of reasonable presence. It can be dry brushed to create wispy lines. A good strong coffee has much more substance. Australian artists will know what I mean when I compare this mixture Weak transparent colors are suitable for those gentle misty paintings. It makes the transparent washes appear more so and adds strength to a gentle medium. Butter consistency pigment is good for solid color in small doses.

If you lift your palette and tilt it from side to side. Here we are talking about a half-tone wash that will move on the palette in a much slower manner and will leave quite a coating of pigment behind. It will not lose much in intensity when it dries. You cannot dry brush with it because it will hardly leave a mark. Shapes painted with this mixture will be relatively solid in appearance. Because it's very weak it will dry much lighter in value than it appears on the palette.

Over larger areas it will form those wonderful granulating effects and rich. Paint with this mix as you would with thin oil paint or gouache.

It serves as a foil to large areas of weak washes and can provide tremendous contrast when placed against lightest areas. You cannot go any stronger or richer with your pigment than this! Quite simply. When a MILK wash dries it will hardly lose any of its strength and can be used for most landscapes in the middle distance and foreground. This is your old-fashioned full cream variety — forget this new trend of white colored water.

Mastering_Atmosphere_And_Mood.pdf

Great for luminous skies and other light areas in your painting. That means holding it well back up the handle. If you need just a small amount of pigment. The opposite is true for small shapes. Study these pages for the answers. HOW to pick up the pigment. This is particularly true when you are applying major washes— you must use a decent size brush to be able to build up the bead of paint to take the wash down the paper.

Never hold your brush near the hairs except when you are getting into the tiny details and even then there should be a good inch left between your fingertips and the follicles. Simple isn't it?

HOW to brush it on. Always use an appropriate brush for the size of the object you are painting and hold your brush correctly. You must apply paint quickly!

The quicker the better! Never dab, always stroke. Your brush should dance swiftly and elegantly across the paper just as if you were an expert ice skater. The bead can be compared to a necklace of large teardrops — It allows the paint mix to flow on the paper. If you do not paint with the bead you will end up with dry, dead looking watercolors. The bead is responsible for granulation, for gradual change of tone or color and large, flat, translucent areas in your painting.

It is imperative to work with your paper on an angle of approximately 35 degrees. Never change the angle while you work!. The angle of the board makes the paint run towards the bottom of the picture. So there it is! See what happens when you apply any of these mixtures at different times of wetness. You will acquire a range of brush marks which will become a visual language for your storytelling. You will never get to tell the story properly while you are struggling with the language.

Let's study my painting, "Furling the Sails, France", and identify the relationships between the paint consistency and the moisture content of the paper,. I added water to the wash at the base of the mountains to create a much lighter value to suggest mist. The small figures in the middle distance were also done in this fashion. This was placed onto DRY paper.

This created a foil for the soft sky, which appears even softer. By placing them next to the lightest areas I created a sharper contrast which gives the illusion that the foreground is closer to the viewer. This also allows me to paint more freely because I am not fenced in by a tight drawing. It is important to keep the wash as smooth and clean as possible.

The colors are kept weak and I use a large brush to create a big bead to wash down the paper. I reserve some white paper for highlights. It is merely there as a support for my washes. Permanent Magenta and Cobalt Violet. Just before it all dries I splatter some stronger MILK consistency Yellow Ochre to create leaves and generally loosen the wash to avoid becoming too pedantic.

The brushwork is kept loose and I paint as quickly as possible but without being messy. I throw in some other colors as I go along to vary the work and prevent it becoming monotonous. This is an important area because it is actually the foreground and serves as the lead in to the painting. It's important to achieve the correct pattern of waves to create a realistic water surface. The bridge area is painted next using the same colors.

Cadmium Orange and a touch of Ultramarine Blue to cool it off. I blend the bottom of the bridge into the water. I try to place the darkest tones next to the white paper to create the effect of sunlight.

Many watercolorists refuse to use opaque paint and that is perfectly within their rights.

You be the judge of how this version works. If you can create a good painting. Live and let paint! This scene is quintessential Melbourne and the bridge itself is an icon for many artists — a bit like the Eiffel Tower or Sydney Harbour Bridge. I keep the brushwork very light and quick to avoid overworking and therefore killing the freshness.

It's best to use white paper for this. I do use a bit of Opaque White gouache for highlights on the areas that have been "lost" during the process. It can be painted in many ways but can look a bit "kitsch" if you are not careful.

Zbukvic Mastering Atmosphere and Mood in Watercolor

Then the second wash establishes all the shapes placed on ground. The third stage is the addition of detail. I left some white paper spaces for the groups of highlights.

Most of my paintings are done in three steps: I apply the major ground wash first to establish the principal shapes of earth and sky. If you keep the process simple you are more likely to succeed. The first TEA wash established the sky. I caught the paint drying just at the right time to create those waves. Too much input from you and your painting will become tired and flat. If you let watercolor do its job it will paint itself. The middle distance trees were painted with a slightly thicker mix of the same colors.

Ultramarine Blue and Yellow Ochre. On this occasion the buildings of St Georgio cut such a lovely shape against the evening sky. When I reached the road I left some white paper and continued to paint the foreground very quickly. Subjects like this can quickly turn very kitschy. I was particularly happy with the way the water surface came off in one wash. Apart from St Marks square the lagoon is the only expanse of space.

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Take care not to paint them "too pretty"! I used Cobalt Turquoise and Cobalt Violet. Sometimes I do my best work when I don't try too hard. This was transformed into the green fields once I reached the horizon. I painted this late in the day after many hours of driving and really wasn't trying too hard.

Ask yourself how many shapes you see. I thought I would park the car and walk back. The way we see the subject is of utmost importance. Begin with the All this does is confuse the viewer.

Don't start a portrait by painting the eyelashes first. Also note the way the trees. The sky might have smaller shapes within it. Composition is how you relate the shapes in your painting in terms of their position. What we are after is a plan that will set the "mood" we want to convey.

I challenge you to look out of your window this very moment and test the "two shapes theory". The first step takes place before you even start to draw.

I found this location while I was on a drive. Compare the tonal value of the fields to the tonal value of the sky! Look at the foreground in particular and see how much darker it is than the sky. If you paint small bits all you end up with is a collection of unrelated elements or. The ground of course has many shapes on it. It's too late to think about composition after you have begun to paint. By using fairly strong tonal contrast I created the feeling of bright spring sunshine.

This was painted while the sky was still wet. An accomplished artist can decipher the important bits of information from the subject and turn it into a simple message.

After we make the decision to paint a particular subject it is imperative to plan for how to execute the painting. The first thing you must do is look for the major shapes and then establish them on the paper.

I was looking for somewhere to stop because I had seen a great view but couldn't park safely. This instant feeling of space was created by the two major shapes in landscape painting: Unless there is no skyline. Instead I found a quiet lane with this view! Notice the way the soft skyline on the distant mountains creates depth. The only bits on their own are the cows in the foreground.

Most students want to put down every tiny detail. I chose this one over some others because of its — apparently — wider content not only about color mixing, for example, or about painting flowers and big size. Unlike some of the other books, I was able to watch a leaf through on Teoh Parka blog.

So thank you so much, Teoh, for these kind of useful videos! What the hell?! At last, Hazel Soan is going to release a new book next year. It seems to be a small book too but not as tiny as the other one, fortunately!! Maybe, if the book is only about painting people, it could contain more practical information about the topic, even in a small book? I tried to practice from her book, copying some of the sketches and trying to figure out how she did it.

It was fun and interesting and I was really happy that I tried to achieve some of the effects. The greater effect her work had on mine, too, was an urge for even more simplicity.By placing them next to the lightest areas I created a sharper contrast which gives the illusion that the foreground is closer to the viewer.

It also helps to increase their sense of security and self-concept.

However this time I felt more animation was necessary. Instead, use a brush that's "almost too big". I quite often catch students jumping from one tonal value to another to end up with insurmountable problems. I particularly like the distant misty shapes and that feeling of dew sparkling in the morning sunlight. It's a strong painting. However you are probably used to this obstacle and know how to overcome it.

In fact it was so long ago that the waiter at the local trattoria returned my tip! There is plenty of pigment on my brush.

ANGLE from Iowa
Browse my other posts. I have a variety of hobbies, like exercise. I do relish reading comics merrily .