Showing posts with label how to paint. Show all posts
Showing posts with label how to paint. Show all posts

Thursday, December 8, 2016

Serenity in Mixed Media

5*8 inch
mixed media over monoprint

When I developed this Buddha painting I felt like a sculpture pushing (adding darks) and pulling features (adding lights). I used a very simplistic palette of just Prussian blue and white over a Gelli print, but I feel it has some impact with the texture of the print showing through. 

Tuesday, December 11, 2012

Sailboat at sunset tutorial

Just a quick demo on how I painted this sailboat at sunset. Colors used: Indian Yellow, Napthol Red, Alizarin Crimson, Royal Blue, Burnt Sienna and Brillant Orange and permenant ink First draw out your image and mask off your sun spot - dry.
I chose to use ink as a base to this painting applying it both directly and using it as a wash to add some shadows.
Next wet the entire sky area. Working around your sun spot start by adding a graduated wash of indian yellow from the bottom to about 3/4 the way up, then add in alizarin crimson, and at the top work in a band of royal blue letting it run down a little. DRY The sky is not holding the weight I need it to so I wen over it again using the same colors and technique. This time adding a band of brilliant orange along the bottom. Looking better but still not quite there. So lets dry and move on to another area so that I can come back and judge the values.
The sails were added using a mix of BS, brilliant orange and indian yellow. DRY I noticed that the sky still didn't have the imapct I was looking for so I had to go back and mask off the sails so that they weren't muddied if I brought the blue down so far.
Now all you have to do is go back and fine tune using the same colors you have on your pallet and a fine tip pen to strengthen some of the rigging.
Hope you enjoy. Feel free to ask any questions.

Tuesday, September 18, 2012

In Her Prime Belly Dancer watercolor step by step

It has been a long time since I posted a demo so I will take this opportunity and share with you my latest commission. This is Maia, her wonderful husband asked me to paint this gorgeous picture of his wife as a surprise for her birthday. Awe isn't he just so sweet. I have known this couple for many years and was so honoured when asked, and in all reality who could pass up such a beautiful model. :D
Step 1: This is the third workup of the line drawing hence the 2 pieces of paper taped together, nothing fancy here. So I waited for a nice bright day taped her to the window and transferred her to my watercolor paper. The hard part is over. I think that probably my most challenging aspect of this project was the fact that I knew this lady and wanted to do her justice.
Stage 2: Lets add color. So in this stage I masked out some key highlights, like the glints of lights from the underskirt and earring, and eyes. The other highlights, like the one on her shoulder I could work around because of the size. I don't like making fluid and try and avoid using it whenever possible. So working with just 3 colors, quin gold, perm red and cobalt blue I layed in the basic patterns of her skin. I will be going back and adding more layers as more of the painting is completed but this gives me a bases in which to judge all other values.
Stage 3: Add some darks. I needed to add some darks to give a some sense as to where I was going. Even with just this tiny part of the painting somewhat completed it really made her come alive.
Stage 4: Building layers. Did you notice the oops that was made when adding her skin earlier? I had to drop her tummy back down under the floating scarf because you would see a hint of her tummy through the scarf. This piece is all about layers and really made me stop and think about the process. Her skin and underskirt would show through the sheer scarf in some places and the background would come through in others.

Stage 6: Folds and fabrics. This piece offered many challenges, the main one was the fabric and the sheer scarf. I needed to find a way to delineate the underskirt from the scarf, add texture and tie in the background. Not a small task. For the scarf and dress colors I used a mix of cobalt blue, cobalt turquoise lt. (this color is slightly granulating and was the perfect choice for just a hint of texture in the scarf), and a touch of paynes grey as I knew I would be using it in the background and needed that color to show through the scarf.
Stage 7: Adding the background. Using a wet into wet technique I applied
the first background layer using paynes grey, alizarin crimson and cobalt blue.
Stage 8: Final touches and done. Now it is all about adding detail and making sure your values and tones are accurate.

The finished piece is 9 * 12 on 140lb CP arches paper
Hope you enjoy :)

Wednesday, April 4, 2012

Little Boy Watercolor Portrait demo

One of my students have asked me to post the demo that I did for a workshop on portraits from last week. This is a 2 hour painting (including dry time) using a limited pallette of quin gold, aliz crimson, Ultramarine blue, Burnt Sienna and Burnt Umber.  Stage 1: Mask out any highlights or if you are really confident you can paint around them. Due to the small size of this little man I masked.
Stage 2 Sunshine : Wet your paper into the hairline, background, even the whites of the eyes. Wait until the sheen is gone from the paper and start dropping in your mid mix of quin gold. I love this color for 2 reasons. 1 it lifts easy, which comes in handy when laying down your road map  and 2 it adds your sunshine.   DRY
Stage 3 I added a little BS and BU just to place a few darks in the eyes and hair. DRY Then mix up a light mix of aliz crimson. This is a high power, staining color and should be used with care. It is way easier to add color then to take it away. Wet his little face again and start adding your turning points, this would be around the outside of the face, the side of the nose... the warm shadows on the facial planes.  If you are finding that your paper is starting to get to dry, STOP, walk away and let it dry. If you overwork the skin will start to get streaky, and on a child that looks pretty garish. :0 You can always glaze in more color later

Stage 4: I added some more darks to the eyes. I also went back in and strengthened the red/oranges a little.

Stage 5: This stage was done in 2 parts. The background was first wet and a little of the blue color was dropped in. The light is coming in from the viewers left and there is a bright hightlight on the side of the face and top of head. So by adding the darker value around that area it will help to pop it later. DRY  I also went in and started adding a few darks to his jacket. I am working a little more of a wet on dry at this point, as I need to control how far the paint moves.  Some shadow colors were around his eyes, chin, right side of his face, dont forget the little divot under his nose and a little shadow under his nose to make it pop out a bit. DRY  He is really starting to look human now.

Stage 6: Final adjustments were made to his face before adding just a simple hairline and a hint of clothing. Hope you enjoy.  
Untitled portrait
4.5 * 4.5 inch
watercolor on 140lb Arches

Wednesday, November 16, 2011

Watercolor portrait tutorial - Girl in Pink

Wow it has been a long time since I have done one of these little tutorials/ paint alongs. Yesterday I thought I would paint up a little girl. I had no real person in mind, I just started with a basic line drawing getting her perspectives down and picking out my pallett of hmmm.... lets see... quin gold, perm red and cobalt blue, opera and i will toss a little burnt umber in at the end.
Lets start by wetting her face and dropping in some color to get a base of where we want to go with this. At this point I will be working with only my yellow and red remember to work around your lights.

Still working wet in wet and building up light layers of my yellow and reds all the time thinking about where the sun will hit her face. You will see I added just a dab of burnt umber to place the eyes. Dont forget to leave the highlights.

Continue building up your layers of sunshine, but now it is time to start thinking about how and where your facial structures recede. The eye sockets and sides of the nose the dip under her bottom lip the hollows of the cheeks and dont forget her temples. We can start adding our shadows into her layers. Work light!!! You can always add paint but it is Really hard to take it away.  

I wanted to get in my darks at this point, so I had to first pop in some background of perm red and cobalt. This will not be the final layer I juts needed something for her hair to sit on.  
Mix up some powerful mixes of Yellow, Red, Blue and Umber. She is backlit so remember to leave a couple wispy lights around her head working in some sunshine and then into your red and blues for your really darks. The umber I used is just enough to tone down a few areas but not enough to give an overall color. Remember if your values are correct it doesnt matter what colors you use. You will have to go back in at this point to make some final tweeks, but at this point Im going to call her done.
2.5 * 3.5 inch
Hope you enjoyed this mini demo

Wednesday, August 3, 2011

Hibiscus- Floral triad watercolor study

I really haven't been in the mood for anything this past week. And it has really been hard to get anything started let alone get anything completed. So when I saw this weeks WDE and the challenge that went with it, i thought this would be just the escape that I needed. This is a small painting of an emerging hibiscus using only a 3 odd color triad. For this painting I chose Magenta, Brilliant orange and Cobalt turquoise. These are colors I seldom use so I thought I would try it out. Pretty flowers always make me feel better. :) Hope you enjoy
4.25 * 4.75 in
watercolor on 140lb CP

Thursday, January 27, 2011

Mountain Bluebird Acrylic Tutorial

I haven't posted a WIP is a long time so I thought I would stop by and show you this mountain bluebird painting I have been working on in between sewing projects. :) 9 * 12inch canvas board. Here are the first intial stages mostly just blocking in the large masses of color.
starting to define the shape a bit more on the leaves and feather pattern

Almost done! Went back in to reshape his head , eye and bottom breast a little. Added more shading under his body to tail feathers. I realized after photographing the last shot something was off - the lighting didnt match. So .... will be going back in today to try and give the tree more of a rounded shape by moving the shadows to the right side of the tree (hehehe oops... )and maybe pump up the highlights on some of the leaves. :)Till next time Happy Painting!
9 * 12 acrylic on canvas board
signed and dated on both front and back
Donated to Canadian Artists for the Poor

Thursday, November 18, 2010

The way's of life

Full Sheet 22 * 30 in Mixed Media acrylic over a watercolor underpainting on 140 lb CP
This is my first full sheet painting and it couldnt have been completed at a better time as I have just found out that my mentor/ teacher and friend has lost her battle with Cancer. I am hoping that she finds peace now. So I am dedicating this painting in her memory.

Tuesday, November 16, 2010

Landscape painting using a toned ground

I have been experimenting lately with toned grounds. A toned background is a background that has been painted in a flat wash of color. This is done for 2 reasons, it seems to take away the intimidation of starting with a blank white canvas and it adds continuity to the painting as the undercoat will show through in spots. Some colors work better than others as a toned background. For this painting I use I started off by toning this little 2.5 * 2.5 inch canvas with cad. red and then applied my color dashes of color. For something so tiny it sure hold a lot of impact. The red under painting that is showing through seems to highlight the greens of the trees and the fields.

Thursday, September 9, 2010

Hanging out Watercolor Portrait Tutorial

Another painting started .. i just love the expression on this teens face.. it represents that genre very well.(man i sound old all of a sudden) LOL Anyways just a simple pallette Skin tones - raw sienna, alizarin crimson, and ultramarine blue. Work slow .. develop your warms .. thin washes wet on wet and **let dry in between***
When you are waiting for the initial skin tones to dry move onto another area that does NOT touch and adjacent area that you have worked on.
For the jacket I used just a simple wash of UMB and Burnt Sienna. Cobalt blue for a bounce of stronger color in the white shadows.

Keep developing your skin tones. dampen a small area at a time, drop in your color and walk away.
For the hat I used a light wash of perm. rose.. dry and then cobalt blue. Enhance the shadows and the stiching on the hat with a mix alizarin crimson and UMB that you have been using on the face. This will help to tie everythig together. I also used perm rose and cobalt underwashes on the shirt and banding.
I am really loving the skin tones in this one. They are almost flawless.. Something I have been striving to do since I started painting in watercolor. :) I started the hair working wet on dry with seperate mixes of burnt sienna and van dyke brown. Careful not to cover all your underpainting. It gives the impression of sparkle and light. Pop in some darks using the UMB and alizarin crimson mix that u have been using in his face.

A bit more progress made on the jacket. I will be fixing the uneven shadow wash on the left side of the collar and adding some more texture and detailing on the jacket. I have added in his eyebrows using vandyke brown and your purple mixture from the previous steps and adjusted his right eye, it was looking a little big. Thinking i may want to reevaluate the background. In the photo he is shown in front of a chain link fence. I just love the way he is turning out and I dont want him to be competing with the background so I am thinking of just a dark green/grey soft foliage background.

A quick update after the first background wash has been applied. I still have about 10 washes and a color adjustment to go in order to get the depth that I want, but it is the impression I was going for. The green/blue background really makes his face glow. I usually dont use masking fluid but i had to make an exception for this one because i really didnt want to be trying to paint around the hair. I hope that when i peel it away it will come off nicely without having to many touch ups to do.
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Whoopie. I am sooo excited by this piece.
Would love to hear what you think. :)

Happy Painting

Thursday, June 3, 2010

Window Shopping - Cityscape in Watercolor Tutorial

3.5 * 5.75 inch
Inspired by this miniature painting I did of this street scene I thought I would tackle a 1/2 sheet version. Starting with the largest color masses I started to block in some local color, deepened the shadow side of the pillars and places the first wash of neutrals in the middle line of windows. and this is where I am right now.

Popped in some more color in to the 2 remaining flags, some reflective shapes in the main cars window and added a little crimson to indicate where my darkest darks will be on the cars. This serves a 2 fold purpose. It will serve as a mapping system if my pencil lines get smudged, it also gives we a constant under painting color, which will add continuity once the subsequent glazes are applied.

The rich darks are starting to get placed now. Keep in mind that this is just the initial glazes. It will become allot darker in the future.
A little more work done on the foreground shadows and the reflections have been started on the cars. The reflections are done by careful color blocking. In the original mini version I could get away with just the suggestion of reflections but in the larger version I have to be very careful with the main dark car. It is very easy to loose your way with so many color shifts, so go slow. I have also gone back to the top to adjust the reflective color on the blue flag stands as they were reading to vibrant for a reflection.
Oh BTW did you notice a few of the figures have been started. Not the carrot people I could get away with in the little version but still not a detailed version of people either.

Hi all. Its been a while because of a family emergency that has taken me away for almost 2 months now. :) But im back now and hopefully can get on track again.
This is the latest installment of Window Shopping. A bunch of work has been done on the middle ground windows and the main cars' reflection. A few more figures have also been added to the foreground.

Wow am I ever falling behind. Summer is such a hectic time of year and now fall and harvest is almost upon us. Where does the time go? Anyways found a few minutes to get an update in. Into the final stretch with this piece. (It is allot more intricate then I first gave it credit for.)I have a little finishing to do on the boxes and some picking out of highlights on the flags' stitching. and blending in the cast shadow and the tires into the pavement. I am a little disappointed by the way the main level windows turned out- a little to blue for my liking, but it sure makes the orange pillars pop. The figures are coming along well, enough detail to show what they are and what they are doing without overstating them.

9* 12in watercolor on 200lb curry's paper  SOLD
WOOO HOOO! Its finally done! There is so much intricate work in this piece I thought I would never finish it.

Monday, May 31, 2010

Succulent textures- Watercolor Cactus painting step by step

Hi everyone,
Its been a bit since I posted last. Been kinda down dealing with all the snow we have been getting. From 25 to -2 and blizzard conditions in 24 hours. EEk. But my garden survived and is thriving.. now i just want the sun to peek out again.
Anyways, here is a small painting I did for the WDE over at wetcanvas.

I was drawn to this photo for the twisting winding shapes and the textures on the yellow bulbous masses. Now to try and capture that. After I drew out the general shapes and masked out the yellow bulbs I started an under painting with some gambouge for the sunshine and turquoise for the shadows with a little rose madder thrown in for good measure. ;)

Next I came back with glazes of sap green for overall continuity. And some more glazes of turquoise and gamouge.. making sure the layers are dry.
After the masking was remove I came back in and stippled in some lemon yellow, gambouge, lt red and orange. ** special note, take care not to cover the entire white space with the bulb color, this will lend itself to a tiny highlight adding another dimension. It looked a little flat so after all was dried I took some turquoise and sap green and added just the slightest cast shadow under each bulb. Also I had to go back in with some shadow color and take away some of the yellowness from the bulbs in shadow.

And whoola here you have it.
Aprox 3.75in * 5.25in
Till next time
Happy Painting!!