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Cerulean Blue PB35 Winsor Orange PO62 Burnt Sienna P.Br7 Inspiration * Ideas * Instructions for you© A Study of Colors November 2014 Painting Trees Painting Rocks Working with Glazes Different Brushes, Different Marks This month’s “Featured Artist”: Julie Gilbert Issue 7 Pollard Special : Watercolor Lesson from Pollard The contents of this publication may not be reproduced in whole or in part without the express permission of the copyright holder. Jim Black , creator and owner of Watercolor For Me And Jim’s Watercolor Gallery Copyright 2014 Phoenix artist, Julie Gilbert Pollard, paints in oil and watercolor in a fluid, painterly manner. Her painting style, while representational, is colored with her own personal concept of reality. “The eye may see as a camera ‘sees’, but the mind’s eye sees an altered, imagined image, what it wants and hopes to see. It’s that illusive image, uniquely mine, along with a heightened sense of ‘realness’ that I try to express in my paintings. This world of ours is often a frightening and mysterious place, but it is filled with scenes and subjects that excite my eye and imagination! The magical allure of the natural world, and my reverence for it, compel me to attempt to capture its essence on canvas or paper.” ​Julie is the author of two “best seller” North Light Books, Brilliant Color (oil & acrylic, 2009), and Watercolor Unleashed (2013). She currently writes Watercolor Unleashed! The Notebook (self- published “chapter-at-a-time binder-book” – 2009 through 2014, ongoing). Also, with North Light Books/ArtistsNetwork.tv, are two popular Watercolor Unleashed DVD/videos (2011); she recently completed filming, also for North Light Books/ArtistsNetwork.tv, three more DVD/videos, available soon. Additional publications include articles in: Watercolor Artist (April 2013), The Artist’s Magazine (May 2010 and September 1987), 100 Ways to Paint Landscapes, (International Artist, 2004) and Watercolor ’92, Fall Issue. Contact Julie at 623-849-2504 [email protected] ​She has given instruction in watercolor and oil since 1985 in numerous venues such as La Romita School of Art in Umbria, Italy and Cheap Joe’s Art Workshops in North Carolina. Current venues include, among others; Scottsdale Artists’ School; Shemer Art Center and Cynthia’s Art Asylum in the greater Phoenix area; San Diego Watercolor Society in San Diego, California; Mountain Artist Guild in Prescott, Arizona and Dillman’s Creative Arts Foundation in Wisconsin. (Complete listings and details can be found at http://www.juliegilbertpollard.com/classes- workshops/) ​A frequent award winner, Julie’s oils and watercolors have hung in numerous juried and gallery exhibits and she’s a signature member of National Oil & Acrylic Painter’s Society and San Diego Watercolor Society. Her work is included in many private and corporate collections and is represented in Arizona by Xanadu Studio Artists in Scottsdale (online gallery), Esprit Decor Gallery in Phoenix and See more at: Raku Gallery in Jerome. http://www.juliegilbertpollard.com/paintings/ Paint Cascading Water in Watercolor – On Canvas! Julie Gilbert Pollard ©2014 Who isn’t drawn to water and water scenes? I know I am. Rocks, water and flowers are my favorite subject matter – and when I can put all three into one painting I’m one happy painter! In this article we focus on cascading water, what I call THE ANATOMY OF A CREEK. Important is the fact that the appearance of the water on the surface is dependent on two things: 1) what lies below the surface, i.e. the streambed and 2) the volume of water that is running through the streambed. In order to make a creek with multiple waterfalls easier to understand and easier to draw, let’s simplify and stylize using two familiar and similarly structured subjects as models: 1) Stair steps. In the case of a rocky creek, the water is flowing down a series of steps formed by the rocks as the watercourse proceeds downwards to a lower elevation. 2) Skirt. Imagine that a small waterfall looks a bit like a skirt - the skirt of a formal gown with a train, as seen from behind. Take a look at five specific comparisons: WAIST - the point at which the water begins to fall, i.e. the top of a step FOLDS - from the waist down to the base of the step where the water hits and splashes upwards RUFFLE - the edge between the falling water and the upward splashes TRAIN - the entire whitewater area from the ruffle to the point that the bubbles have dissipated LACE - the holes in the water where foamy water starts to break up into circles through which clear water can be seen 1) stair steps 2) skirt of a formal gown - as seen from behind Now apply & adapt those simple ideas to a real creek - as you see below: Now we paint a creek scene featuring cascading water! 1) The composition is drawn and the main value pattern established with acrylic-used- as-watercolor – the darkest darks you see. I often call this “watercolor in reverse” since it is the opposite of painting in the more traditional “light-to-dark” manner. When dry, the surface is wetted with clear water right over the acrylic and the painting process resumes - now painting “light-to-dark” – a few yellow-greens are brushed in. 2) Still painting light-to-dark, more colors are blocked in into the main foliage areas. Impatiens by the Creek Transparent watercolor and transparent acrylic watercolor on canvas coated with Daniel Smith Watercolor Ground 12x12 3) Both positive and negative painting are used to flesh out the painting - even some lifting, spraying, scraping and splatter – until the painting is completed. The surface is then sealed with several spray coats of matte varnish. As you can see, getting the shapes right and correctly placed and in appropriate values is paramount. And learning the anatomy of the creek certainly does help. Just remember to apply & adapt my stylized ideas to the real creek you see in front of you! This technique of beginning with acrylic-used-as-watercolor in the darker values first is a wonderful method for painting with watercolor on paper, canvas and in this case, a surface coated with Daniel Smith Watercolor Ground. As a painter in oil, watercolor and acrylic, my favorite support is canvas. Yes, even for watercolor! For watercolor, canvas can be a rather “tricky” support to deal with - I have taught workshops on the subject and have seen many people struggle with its idiosyncrasies. However, although some have found that watercolor on canvas has caused them to paint a bit tighter due to the fear of dissolving previous washes, I have found just the opposite to be true, especially when using my “watercolor in reverse” technique. In fact, I paint looser and “juicer” watercolors on watercolor or multi-media canvas. As with so many things, often the advantages are the same as the disadvantages! Namely, the fact that the paint lifts so easily. On the one hand, I feel this to be an advantage as it tends to keep the washes looking fresh rather than muddy-looking as multiple washes often become. The disadvantage is that that very characteristic can cause us to become even more timid, especially of adding dark values that are usually necessary for a painting to look complete, not wishy-washy. I have found a way around this “fear of the dark”! As you have seen, I paint the dark values at the very beginning with acrylic-used-as- watercolor. I find it much easier to add the dark, rich values before I have invested a lot of time and psychological attachment to the painting. Additionally, the acrylic “locks in” the dark value pattern and composition as a whole AND it won’t dissolve with the subsequent washes to make mud, but stay fresh and clean. But once again: advantage VS disadvantage! I’ve already stated the advantage - mainly that the acrylic will not dissolve. The disadvantage is the same - if you put the acrylic in the wrong place, it’s there to stay! Therefore, I recommend a minimal use of the acrylic until you get the hang of it. Here’s another example, this time on Yes! Multi-media Canvas. 2) The “acrylic underpinnings” are painted in, this time 1) The composition is carefully drawn. the darks very dark. Reflections in Gold Transparent watercolor and transparent acrylic watercolor on canvas 20x16 Featured in North Light Book Best Seller Art Journey America Landscapes, 89 Painters' Perspectives Edited by Kathy Kipp 3) The entire canvas is wet with clear water right over the acrylic and autumn colors brushed in over the foliage and reflections areas. Blues, lavenders and a bit of orange are brushed into the rushing water area, avoiding the whitewater. The rock colors are also painted in. 4) The foliage is splattered and brushed in. Where brushed in, the paint is added in puddle form – gently and not agitated with the brush - so that it doesn’t significantly lift the first washes of color. I hope you can see why I believe my methods to be helpful to many watercolorists! More is available about my techniques in my North Light Book Best Seller Watercolor Unleashed, New Directions for Traditional Painting Techniques and North Light Videos Watercolor Unleashed, Painting Cascading Water and two others in my Watercolor Unleashed series. Also look for my two North Light Acrylic Unleashed videos. All best to you and HAPPY PAINTING! www.JulieGilbertPollard.com http://www.northlightshop.com/catalogsearch/result/?q=julie+gilbert+pollardwww.Artist sNetwork.tv http://artistsnetwork.tv/c-2-workshops.aspx?search=julie+gilbert+pollard This is a photograph that you would like to copy.
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