Month: April 2022

Birch Trees

Birch Trees – from a photo in Module 2 of Andy Evansen’s Class

If you have been following me for a bit, you know that I have enrolled in a lot of painting classes. This is a study from my watercolor class, online with Andy Evansen. His work covers a lot of subjects, but I like his ones of the natural world the best. So, lazy me, I stick with his photos of the wilds, but will, at some point, take the dive and do something with buildings and people, and maybe even cars.

I used frisket to create the hard edges of the birch trees and the snowy areas of the logs in the foreground. The other white areas, the snow, is plain paper, no frisket. After the frisket dried, I did the sky, sunlit mountain, and dark background. Then, a bit of the foreground. Finally, the frisket was removed.

When the frisket was gone, I worked left to right, creating the shadows of the birch trees. Upon those shapes I added heavier paint to create the blacks characteristic of birch trunks. Various other details got worked in. White gouache came in handy to clean up some of the birch tree trunks as well as to create the fine branches of the trees toward the top of the painting.

The only thing I have some issues with is the very large birch tree on the right, the one which stretches top to bottom. It is not quite right, but that is something for correcting later on. Despite that, I am pleased with what I am learning, and creating, with all these classes. Painting and drawing and artwork is in the forefront of my mind these days, and it is beginning to show in more “successful” paintings from my viewpoint.

9×12 CP 140# Arches paper; primarily watercolor with a touch or two of gouache. (Maybe 3 or 4 or more….)

Up the Hill

Up the Hill – Acrylic, 12×16

I started this painting a few weeks ago, at the first class at the local adult school with a new teacher. This is from a photo I took some time ago. I was at the bottom of a hill, looking up.

This painting has taken a lot of time – several hours – but the work has been worthwhile. I have been applying the various principles I am slowly garnering from hours at the proverbial grindstone, memorizing techniques, concepts, whatever. For instance, I think this painting actually has a nice sense of depth and perspective – something I have struggled with for a long time. The light on the trees also pleases me, as do other bits and pieces of it.

I have also learned just through doing how to get the heavy body acrylic paint into a more viscous and enjoyable mess to paint with, and that is a big help! It’s a combination of matte medium, water, and the paint itself. I dislike the plasticky quality so often that accompanies acrylic paints, so even thought my colors are bright, I think they moosh together fairly well.

I’ll ask my teacher’s opinion when I see her next week. Meanwhile, here is (to my eye at present) finished work. Below is the photo which is the basis for this painting.

Out in the Midwest

Module 2 – Study 2 – Andy Evansen’s “Watercolor for All Seasons” Class

This is my second foray into the series of photos Andy Evansen has posted for studies in the second module of his watercolor class. Here the focus is on value studies.

One of the things I am attempting to do, from both my classes with Evansen and with Ian Roberts, is to work on value. Evansen is a watercolorist and Roberts is an oil painter. Evansen demonstrates the use of a value study on his YouTube channel by creating the middle value(s) as large shapes. Roberts emphasizes shapes rather than things as well. Unlike Roberts, though, Evansen begins his value study with simply the middle value, leaving lights as white. After he has painted the middle values in his painting, he returns to the value study to put in darks and perhaps details.

I managed to do the middle value study, and then painted in what I considered to be the middle values, working left to right as I am right handed. But, before that, I laid in the sky with paper turned upside down as I wanted to have a darker value at the horizon.

I am not sure if the paper is improperly sized, but the paint and paper did not interact well. This is a 300# CP Kilimanjaro paper, natural white, and the first time I have used it. I also wet both sides of the paper, which is a habit I have for watercoloring with 140# paper. I need to see what happens in the future with other paintings.

I don’t really think this painting has a focal point, but that is not the purpose of this study. This module is to paint left to right, working in midvalues and sky first and leaving areas of white or light colors intact. From there, darks.

Evansen has provided a number of photos as references for the basis of a painting, and for values, I think I will work on that and try to apply what I am learning from Roberts and Evansen to create some things worth the time I spend. The reference photos range from landscaapes to cityscapes – animals and people. I will begin with the landscapes and then try the harder subjects for me. Here, there are cow shapes – blobby things. I have also done geese – more blobby things. All thesse blobs have characteristic shapes for the critters.

So! I am dipping my toe into new territories . . . let’s see where it takes me!

21-24 / 30

I am getting burnt out on these drawings! I decided to take a few days off and will pick up again tomorrow. Since I have committed to 30, I only 6 more to go by 4/17. I think I can handle that!

Day 21

Cannon Beach, Oregon. Figure is too big, some foot prints too dark and too big in the distance.

Day 22

Initially I had drawn this shack so that the beach and waves in the distance were parallel to the edge of the paper. After scanning it, I realized it looked better with a bit of an angle to it. Interestingly, a comment said it made no sense because the ocean is out there, straight ahead. Obviously, too realistic of a person, or someone who hasn’t taken a photo. Really, to me, a very interesting and odd comment and viewpoint!

Day 23

Here is a scene of looking down onto a beach. The distant cliffs look okay, but the descent to the shore in the midground is definitely confusing.

Day 24

During last Saturday’s zoom meeting, Ian talked about cross hatching. I use it a lot in ink drawing, but not in pencil since the idea for a lot of this 30-day challenge is to limit marks to horizontal and vertical. The idea is to create value studies, not finished drawings. Interesting lines do not make for good value studies of light, medium, dark. However, a simple use of lines, cross hatching, vertical, diagonal, horizontal, helps delineate shapes, such as curves. I based this drawing off a study of 3 pears by Cezanne.

Commentary

These studies are making more sense and getting easier to execute so that shapes have shape, even if not always understandable.

17-20 / 30

Somewhere, a corner turned. It is becoming easier to simplify a picture, throw out unnecessary things and perhaps adding something else to make it more interesting or work more than a photo can.

Day 17

I’ve been wanting to draw a cloudburst and finally did. After looking at lot of pictures, I realized that the drama comes from the soft rain blurring what is behind it. However, there is also contrast – light and dark. To achieve this, I drew everything in with graphite and then used a grey rubber eraser to create the streaks, lifting the graphite. From there, I smudged it in. Values remain but the messy nature of graphite sometimes defeats itself for value studies!

Day 18

I am pretty pleased with this study. There are nice, subtle areas in a photo that was basically very high contrast in the tree and vegetation in the foreground. The ocean is in the middle right and extending into a misty sky.

Day 19

I took a picture of a tulip years ago – pale pink and backlit. The blurry quality of my drawing is just a value study, not a drawing to show what a tulip looks like. This idea is really challenging at times because I have done portraits in pencil and details abound then! It is important to remember this is to be a simple reference, not a finished work of art.

Day 20

As I progress in this 30 day challenge, I find I am running out of subject matter! So, it is time to work with other things. The flower was one. This one is perspective.

I actually got out a ruler and for the sketch created a grid, and then worked hard to put things in both perspective and in proportion to each other. As well, I wanted to create a nocturne.

Commentary

So, the days are rolling by, little shifts are occurring, and as my confidence in value studies grows, so is, it seems, my patience for doing preliminary work before trying to execute a painting. Not easy for me at all!d

14-16 / 30

Day 14

I am beginning to lose track of the days since I began this project since some days I do nothing, and other days I do a few.

Above is Day 14. Continuing to simplify shapes and masses into values, the above should represent a mountain in the distance. From there, mid-ground is a dark ridge before the mountain, and another to the right of the mountain, behind the mountain itself. The white blobs in the foreground area with sticks is supposed to represent structures. To me, they look like felled timber. Ideally, I think the mountain itself should be lighter to represent atmospheric perspective.

Day 15

This is an attempt at a nocturne – a night time value study to see if I could catch the light of the full moon. The bush-like thing in the middle needs some lightening at the top. Overall, I like this as a start to something even though it is so vague – but that is how night is!

Day 16

This is a view upward to the hill at the center of the local botanical garden. The white swath in the right foreground is the sand trail which winds around downward (behind the viewer) into the riparian woodland below.

I am not quite sure if I like the values as I have them set up here – nor am I really sure about the focal point of the drawing. It seems the dark tree at the top is too dark, but it could be a leading line down the hill to the tree with the cast shadow. The trail leads the eye. In a painting, this could work out with warm and cool tones in addition to values. Maybe I’ll give it a shot!

Commentary

With Day 13 I tried to make my masses more simple and graphic. I am continuing this, and will for the rest of the 30 day challenge.

Some studies lend themselves to it more readily than others. Despite that, I tried to simplify in all three. Doing this makes Roberts’ admonition to “draw shapes, not things” easier to do. Distilling the more important – most important – into value masses seems to be happening (at long last!).

Again, it will be interesting to see where it works with painting.

13 / 30

Day 13

A couple of takeaways from last Saturday’s Zoom meeting for this class. First, a suggestion to make marks simpler – horizontal and vertical. Done. It creates less noisy masses.

Obviously this is some kind of wetland. I sort of made it up. It’s missing a focal point. I should have done that, but this is sort of dashed off as we are soon to leave for a birthday party and I would like to put on my frippery!

12 / 30

Day 12

Again, behind on the 30-Day Challenge. I do see the results. For instance, this drawing is very simple, done on grey-toned paper. It’s not an especially exciting picture, but I am beginning to think differently! That is the whole point.

What are the changes?

  • Focal point of the picture. Here, the lone figure.
  • The lines of the estuary into the distance.
  • Contrast – white (light) sand, crashing waves on shore.
  • Line direction to show changes in terrain, vertical, horizontal.

This paper – the grey – is very toothy, and the result is the lines are not very smooth. Midtones are a bit difficult to achieve – that is supposed to be represented by the plain paper – but that just doesn’t really seem to fit into my brain. This makes it difficult, challenging, and rather a bit of a visual tweak.

Overall, the point in these studies is to look at values, and to simplify. It is not easy as I am used to doing detailed work in pencil. Making simple marks on the paper which interplay well is difficult. “Noisy” marks distract from the point of the value study. In other words, lines which are scribbled and curly distract from the values. Value, value, value!

Onward!