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A Study of Colors November2014 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. Lets say you took the image, but do not want to spend a great deal of time drawing it.

This is what you do

Now that you have found a picture you would like to copy as a practice, place a sheet of clear plastic over the photo/image as shown. This plastic sheet needs to be marked off into 1 inch squares. In this example, you have 7 squares horizontal and 8 vertical.

Now, with a pencil, draw squares on your painting surface ,either 1” or 2” or 3” . So, if you have a painting sheet 7” x 2” it will equal 14inches and a 8” x 2” painting sheet = 16 inches ,or if you use 3” squares you will have a painting sheet 21 “ x 24”.

Looking at the picture with the plastic grid over it, you will now start to draw on the painting sheet looking at say square 3 & 7 and draw the same shape in the 3 and 7 on the painting sheet.

Just go through looking at the small grid and draw what you see on the larger grid.

What you might like to do, draw in the approximate area for the main seed pod which is 3 and 4 horizontal….. 4 and 5 vertical……This will give you a great guide post to work from. PAINTING TREE TRUNKS, BRANCHES AND LIMBS

There are two ways for you to consider painting large trunks.

Rough drawing showing shape. Mix up Burnt Sienna, Ultra Marine Blue and a smaller puddle of Paynes Gray "or" Thalo Green + Perm. Alizarin Crimson - (nice Gray). Step 1 - On dry paper with a water proof pen scribble as shown. Step 2 - Completely wet the trunk and limb area.

Try not to make trees like utility poles, as shown.

Step 3 - Drop paint on the left side then tilt the board forcing it to run to the right.

You can play around running it back and forth (left to right or right to left).

Step - 4 Applied dark Gray (Paynes Gray) or mixture of Thalo Green and Perm. Alizarin Crimson to the left side. Everything must be still wet.

Step 5 - Dry Paper.

Step 6 - Dry brush on Dark Gray with side of brush. Rolling with the "roundness of the trunk. Another method you might like for large trunks.

Step 1 - Draw trunk with flat brush( pigment is on the brush but very dry ). Using the belly (NOT THE TIP), drag the brush from left to right, very softly across the paper.

If you wind up with a solid patch of paint ,you either pressed brush hard against the paper or the brush was too wet. Or, both. SMALLER TRUNKS

This is how a liner brush is held, pushing away from your body, up the paper slowly reducing the pressure.

Here is an incomplete bare trunk painted as described.

Tiny drops of water were sprayed on paper, then it was “hit or miss” with the brush. It either touched a wet area or dry paper. When the brush touches a wet area, it gives the impression of dead leaves.

“Jim, is it necessary to get that close to paint in order to understand how it performs and feels ?????

[Look for more in-depth information on colors in future magazine issues] This will change your thinking about Complements

Most books get this wrong. Sorry to say this , Not many took any notice of his findings. And, artists but many teachers, and “artist’s do also. still do not. Years later, Doctors of Ophthalmology I am about to change the way you look at and studying diseases of the eye and visual system, started think about color. looking at a phenomenon known as simultaneous contrast, related to how the eye works and sees color. This much you already know, pairs of complementary colors serve as two functions. Then, there was Ellen Marx, with her book "Optical 1) For making neutrals. Contrast and Simultaneity" , who proved beyond any As the two colors that are opposite one doubt there was a difference between "Mixing" and another on the color wheel march across the "Optical" complements. wheel. To meet each other, they produce some very interesting neutrals. Optical Complements - used for color enhancement , 2) You can use them for visual color are pairs of colors that make each one appear more enhancement. Artist’s have been told for the vibrant when they are painted contiguously, i.e., Blue last few hundred to place complements next to will appear more vibrant if placed side by side with the each other to make colors appear even more color YELLOW. Yellow is the Optical complement..... brilliant. And Orange is the Mixing Complement to Blue.

You have seen the examples in books of the The book by Ellen Marx is very HEAVY reading. At least two squares painted with the same color and it was for me, when I started reading it in 1984. I was one surrounded by its complement to illustrate wondering if that was the main reason every painting how it looks a little more brilliant, there is no book never mentions the findings of modern day doubt that it does. scientists and the Marx book, and still rely on Victorian Thinking. But most Artists are misinformed about the actual colors of complement colors . They The good news is that if you use the right optical know all about opposites on the color wheel, complements in place of the old mixing complements we shall call these MIXING COMPLEMENTS, but in your paintings, they will be more exquisite and know nothing about OPTICAL COMPLEMENTS. dazzling than ever before.

Only use mixing complements for great neutrals. But, This is where the Victorian Theory about do not use as you have previously, side by side or in complements fall-apart. This theory is in all the close proximity of the subject matter. the books I have ever read and for that matter you have read. Optical complements do a much better job when surrounding the subject matter producing dazzling Ogden Rood, in his book "Modern color. Chromatics" 1880, named the correct colors of the complementary pairs, which he called When an optical complement is listed that contains "Contrast Colors". This was the first mention two pigments you are going to have to of OPTICAL COMPLEMENTS. experiment to find the correct proportions to produce a color that will surround the subject and make it glow. Here is a list showing how to really make colors more vibrant by surrounding them with their Optical Complement. YOU DO NOT MIX THEM, just place them beside the color that you want to be brilliant.

THESE ARE THE COLORS OF OPTICAL and MIXING COMPLEMENTS

COLOR NAME OPTICAL MIXING

Prussian Blue P.B.27 Raw Sienna P.Br7 Quin Burnt OrangeP.O48

Phthalo Blue P.B 15.1 Cad Yellow P.Y.35 Cadmium Orange P .O . 35

Phthalo Blue P.B15.3 Gold Ochre P.Y42 Cadmium Scarlet P.R 108

Cerulean Blue PB35 Winsor Orange PO62 Burnt Sienna P.Br7

Manganese Blue PB33 Winsor OrangePO62 Burnt SiennaP.Br7

Ultramarine BluePB29 Transparent YellowPY150 Indian Yellow P.Y 153

Cobalt Blue PB28 Cadmium Yel.PY153 or P.Y35 - Winsor Orange P.O62

Winsor Lemon PY175 Cobalt Blue Deep PB74 Ultramarine Violet PV15

Transparent Yellow PY150 Winsor Blue/R.S PB15 Winsor Violet PV23

THESE ARE THE COLORS OF OPTICAL and MIXING COMPLEMENTS – Cont’d

COLOR NAME OPTICAL Mixing Complement COMPLEMENTS Winsor Yellow Deep PY65 Winsor Blue/R.S. PB15 Fr, Ultra Marine Blue PB29

Hansa Yellow PY3 French Ultramarine PB29 Ultra Marine Violet PV15

Scarlet Lake PR188 Turquoise Blue PB15.3 Cerulean Blue PB35

Permanent Rose PV19 Winsor Green/Blue Shade PG7 Phthalo Green PG36YS

Cobalt Violet PV14 Yellow Green PY175 Green Gold PY129

Perinone Orange PO43 Winsor Blue P.B.15 .3 Cerulean Blue PB35

Prussian Blue PB27 Raw Sienna PBr7 Burnt orange P.O48

Phthalo Blue RS-PB15.1 Cadmium Yellow PY35 Cadmium Orange PR108+PY35

Phthalo Blue GS-PB15.3 Gold Ochre PY42 Cadmium ScarletP.O108

Cerulean Blue PB35 Winsor Orange PO62 Burnt Sienna P.Br7

Manganese Blue PB33 Winsor Orange PO62 Burnt Sienna P.Br7

Ultramarine Blue PB29 Transparent Yellow PY150 Indian Yellow P.Y153 P.

Cobalt Blue PB28 Indian YellowPY153 PO62 Cadmium Yellow PY153 or PY35 AN INDEPTH LOOK AT SOME OF THE MORE POPULAR BLUES

P.B. 35 - CERULEAN BLUE List of Manufacturers VERY LIGHTFAST SEMI-OPAQUE COLOR INDEX COLOR NAME MANUFACTURER MODERATELY STAINING

COMMENTS: A Green/Blue to Turquoise color. Great span of colors from warm M. Graham to the P.B. 35 Cerulean Blue Rembrandt cool Winsor & Newton cooler. This is a broad range from Reddish to Greenish. Since it is often used in P.B. 35 Cerulean Blue Utrecht skies, the best choice to give a beautiful satiny wash, that mixes with other colors nice, is Winsor P.B. 35 Cerulean Blue Holbein Newton's Cerulean Blue.

M. Graham has hint of Red, needs carefull handling P.B. 35 Cerulean Blue Winsor & in a wash, but it can produce dramatic textures, and Newton drama to skies if you let the mixture settle maybe in P.B. 35 Cerulean Blue Winsor & a small container (for about an hour) then dip brush RS Newton in liquid without touching the bottom.

P.B. 35 Coeruleum Rowney Artists Rowney is a darker color, course pigment, and dullest of all paints listed. P.R 206 Permanente Alizarin Crimson this makes an Holbein Cerulean, granulates, but is less staining interesting purple. than others. P.Y53 Lemon Yellow - A lovely soft fresh Green ideal for spring flowers. Mixing complements will depend on brand chosen PHTHALOCYANINE BLUES (P.B. 15) P.R. 101 Venetian Red or P. Br Burnt Sienna might work. COMES IN TWO SHADES – P.B 15.1RS. P.B. 15:6 RS

& GREEN P.B 15:3(G.S.) Visual Complements – again, this might be a good choice, P.O. 62 Benzimida Orange. All Phthalo pigments have excellent lightfast

characteristics, strong stainers having very fine CERULEAN P.B. 35 - Mixed with the following: pigment particle size making them suitable for P.G.18. Viridian - Viridian leans towards Blue, glazing techniques. Cerulean leans towards Green. Therefore the Blue reduces the cold raw look of Viridian granular look. P.B. 15:1 &PB:6 - Tend to lean towards Red (R.S.) Shadow color for foliage. Useful for marine subjects. P.B. 15:3 - leans towards Green (G.S.)

P.Y. 43 - Yellow Ochre - Dull Green, graininess of PAINTING TIP - Don't mix a Blue P.B. 15:3 with a both colors is evident, both are opaque. Rose color to produce a nice saturated Purple, but it

will produce a nice Green when mixed with Lemon P.R. 108 - Cadmium Scarlet & Cadmium Reds. - Yellow. Subtle Brownish Purples and Gray

P.B.29 Ultra Marine blue, R. Shade will produce a The reverse is true of P.B. 15:1 or P.B. 15:6, good color close to Cobalt Blue, which is an expensive bright Purples and dull Greens pigment. This color is a great example of why you might Some very interesting results can be derived by want to consider buying and painting with "Color mixing Phthalo Blue (P.B.15) with different Index Names" rather than "Manufacturers made- proportions of other primaries such as Winsor up Names“. See List next page. Yellow P.Y. 154 and Winsor Red or New Gamboge or Aureolin plus Alizarin Crimson. P.B. 15 (color index name) has 14 - YES, 14 different "Manufacturers Made-up Names“ for To add variety to a shadow area, float in some the same color. Phthalo Blue while the wash is still moist and watch it disperse and mingle with color already on In theory, you could buy 14 tubes with the paper, creating many interesting effects. The approximately the same color. The most I have consistency of the color floated in should be fluid seen in any one student’s palette was 3. but not waterlogged.

P.B.15: ------LIGHTFAST------TRANSPARENT------STRONGLY STAINING P.B. 15:1 - Phthalocyanine Blue - P.B. 15:6 and COMMENTS:- P.B. 15:3 - mixed with the following - P.Y 53 : - Lemon Yellow - Sharp clean Green, in this case Best "visual" complements for P.B. 15:3 are P.Y. P.B. 15:3 . Choose a yellow with an Orange 153 or P.Y. 65 Yellow Deep. leaning and it will give you a warmer Green.

Best "mixing" complements for P.B. 15:3 is P.O. P.Y. 42 + P.R. 101 - Raw Sienna - Result, dark 20 Cadmium Orange. Green on the dull side. Granular result.

Best "Mixing complements for P.B. 15:1, and P.B. P.Y. 35 + P.R. 108 - Cadmium Orange - Dusty 15:6 is P.O. 48 Quin. Burnt Orange. looking Gray-Green.

The list provided starting with (Winsor Blue R.S.)) which is the most Reddish finishing up with P. Br. 7 + P.R. 101 + P.Y. 42 - Burnt Umber - Useful Winsor Newton Manganese Blue Hue which is the color to act as a foil for purer colors. Neutral most Greenish. Greenish Gray color results in a mixture.

P.B. 15 - Makes a good choice as the foundation TIP:- Cobalt Blue (expensive color) can be imitated tint over which other non-staining paints can be by mixing P.B. 29 - French Ultramarine to P.B. 15 - glazed and then selectively lifted or blotted away. Phthalo Blue Beautiful sky color in diluted washes. Mixes well with wide range of paintings. Could be blotchy on highly sized paper. All listed makers rated well, your only decision whether you want Reddish or Greenish tube or Here's my thoughts, Greenish for foliage, and both. leave the Blue Reddish alone. Use P.B. 29 for the Reddish look.

Almost any color will mix with P.B. 15, but it stains. LIST OF MANUFACTURERS

COLOR INDEX NAME MANUFACTURE P.B. 15:1 Winsor Blue R.S. Winsor & Newton P.B. 15:1 Phthalo Blue R.S Rowney Artists

P.B. 15:1 Phthalo Blue Red Rembrandt P.B. 15:1 Phthalo Blue Schmincke

P.B. 15:1 Berlin Blue MaimeriBlu

P.B. 15:6 Phthalo Blue RS Daniel Smith

P.B. 15:6 Helio Blue R.S Schmincke

P.B. 15:3 Phthalocyanine Blue M. Graham

P.B. 15:3 Phthalo Blue Daniel Smith

P.B. 15:3 Blockx Blue Blockx

P.B. 15:3 Phthalocyanine Blue Utrecht

P.B. 15:3 Winsor Blue G.S Winsor & Newton

P.B. 15:3 Phthalo Blue Green Rembrandt

P.B. 15:3 Phthalo Blue G.S Rowney Artists P./B. 15:3 Phthalo Blue Da Vinci P.B. 15:3 Primary Blue Lukas P.B. 29 - FRENCH ULTRAMARINE OR ULTRAMARINE BLUE. P.R. 101 - Burnt Sienna - Gives a range of Grays. Applied densely will produce a soft Gray/Black. VERY LIGHTFAST SEMI-TRANSPARENT P.Y. 35 - Cadmium Yellow - Gives an Olive muted STAINING Green. Useful in landscapes.

COMMENTS:- P.Y. 43 - Yellow Ochre - Grayish Green which like all P.B. 29. Mixed Greens work well for landscapes. P.B. 29 is a Reddish or a Greenish Blue. Color Index either P.B. 29. Red Shade or P.B. 29. Green Shade. P.R. 108 - Cadmium Red - The opaque Orange bias, produces a lovely Burnt Purple. All subjects. Best "mixing" complements for both Blues is P.O.62 - Benzimide Orange or P. Br 7 Raw Umber. P.V. 19 - Permanent Rose - Great mix for clean Best Optical complements Hansa Yellow LightP.Y.3. transparent Purples. Both colors lean towards each other. French Ultramarine Blue by Daniel Smith, Rowney and, DaVinci are Reddish.

Rowney Permanent Blue is Greenish. Note: Rowney call their Ultra Blue Permanent Blue

The two Daniel Smith Ultramarines are nearly identical, but do diverge from one another in tints. Winsor & Newton's pair are more transparent than the rest and produce lovely washes.

Schmincke is Greenish.

All in all, the listed group are all good quality paints. Take your pick.

Best choice if Ultramarine is the only Blue you use, then one of the middle shades by Winsor & Newton, Daniel Smith or Utrecht paints, will be for you.

French Ultramarine or Ultramarine Blue P.B. 29 - Mixed with the following:

P.G. 18 - Viridian - The transparent and grainy Viridian blends to create a cooler, dark Green.

P.B. 35 - Cerulean - The grainy opaque Cerulean blends to give an unusual and fairly neutral Blue for skies and water. Flower painters find this combination useful. The mix is quiet granular. LIST OF MANUFACTURERS

COLOR INDEX COLOR NAME MANUFACTURER

P.B. 29 French Ultramarine Blue Winsor & Newton

P.B. 29 French Ultramarine Blue Rembrandt

P.B. 29 Ultramarine Deep Rembrandt

P.B. 29 Ultramarine Deep Holbein

P.B. 29 Ultramarine Deep Blockx

P.B. 29 French Ultramarine Blue Utrecht

P.B. 29 Ultramarine Blue M. Graham

P.B. 29 Ultramarine Blue Daniel Smith

P.B. 29 French Ultramarine Daniel Smith

P.B. 29 Ultramarine GS Winsor & Newton

P.B. 29 Permanent Blue Rowney Artist

P.B. 29 French Ultramarine Blue Rowney Artists

P.B. 29 Ultramarine Light Maimeri Blue

P.B. 29 Ultramarine Deep Maimeri Blue

P.B. 29 Ultramarine Blue Utrecht

P.B. 29 Ultramarine Deep Sennelier

P.B. 29 Ultramarine Finest Schmincke

P.B. 29 Ultramarine Blue DaVinci

The same subject at the four seasons of the year is illustrated.

In making the four rough color sketches, it was not my intention to ultimately finish four distinct paintings. It was to try to find out which season was most suitable to the particular subject matter.

In this experiment, I found the winter and fall to be the most effective.

Now I think about it, how many visitors go to the New England area in the Spring or Summer especially to paint or take pictures.

It is another story of visitors using all sorts of transport to go paint and photograph the fall colors.

In the Spring and Summer paintings, the monotony of green made these compositions less satisfactory. The Winter scene, with a blanket of snow and cast shadows, lends itself to the placement of a high horizon line in the painting, giving more foreground.

In the Autumn scene, I have used a low horizon line because the elements of pictorial interest are above it. It gives the artist room to show the formation and character of trees. which makes the picture more interesting in composition and color.

In autumn, one's instinct is always to look upward toward the trees and the sky for their vibrant symphony of breathtaking color. Note that when the horizon line is low the buildings appear larger. They are, however, identical as the four sketches were traced from the same drawing.

SIDEBAR: While New England is billed as the epicenter of fall colors. In reality, fall colors may start there but there are great displays in New York, Pennsylvania, Ohio, mid-western states, Virginia, Tennessee, and the mountains in the west. In short, there are lots of opportunities to find interesting and colorful subject matters. You must understand and control the Now, look where the vertical and horizontal lines meet. unique physical characteristics of watercolor If you can quite easily see the black marker, you have a paints to paint with fresh transparent transparent color. If you see a faint hint of color, you glazes in watercolor. have a semi-transparent color. Don't see the black strip? You have an opaque color. Here are my thoughts about the subject. Pull up a chair and lets go. Do you see the small blocks of color above the vertical strips, a wet brush was painted over it to test each colors First, identify which colors on your palette staining character. The first Cerulean blue is a semi stain , are "transparent". and opaque, Winsor blue heavy stain, and transparent. Cobalt Blue non-stain. Again, it will vary from maker to maker…… YOU test your own. Draw black horizontal waterproof line about 1" in thickness on a small section of your Maybe you have thought that layer after layer of watercolor paper. Black marker will be fine. watercolor wash will produce a dull opaque look. It Remember, relative opacity or transparency will…… If you don't understand the nature of colors, of colors tend to vary from brand to brand. that is their relative opacity and transparency. This is why YOU must test your own colors. Now take a small wet brush and gently apply a wash Now, paint a vertical strip of the color you of water over the small oblong just above the vertical want to examine across the line with a flat color (remember, the one that you painted over the brush about 4" long. black mark) let it soak in for a few moments, now brush the wet strip a couple of times and blot. Continue with the rest of the colors and let them dry. Guess what, you know what is transparent and also does it stain the paper.

Cerulean Winsor blue Cobalt Prussian Glazing a group of Highly Transparent colors over each other. They are also non-stainers. See the diagonal line that is wiped across the small squares?

For example, looking down through a layer of say, Aureolin over a wash of Cobalt Blue, the viewer will see green. Just as if you had mixed the two together, but giving the viewer a bright more luminous color than if you have stirred (mixed) them together.

Glazing, like many watercolor painting techniques involves a degree of excitement and unpredictability. So be prepared for any eventuality.

Maybe you have thought that layer after layer of watercolor wash will produce a dull opaque look. It will…… If you don't understand the nature of colors, that is their relative opacity and transparency. Now, if you have painted a transparent stainer PAPER - must be completely dry before you and it's completely bone dry, you can expect it to attempt to apply a glazing color, if not, it will avoid removal. On the other hand, if you paint mix with the next layer losing transparency of with an opaque color derived from mineral the colors and defeating the whole glazing compounds that float on the paper’s surface , process. when you glaze over it with another color it could Just apply a little patience between layers. well lift (and mix) leaving a muddy look.

Paper to use: the surface should be "Cold Press" It is very tempting to use a hair dryer , try this: (NOT in U.K.). Hot Press surface does not work paint two areas not close to each other, dry well with glazing techniques. I like to use a heavy one with the hair drier and let mother nature weight paper - 300 lbs. C.P. Stretching becomes dry the other. See any difference? You decide unnecessary since the paper’s heavy weight how your paper and colors reacted. When I eliminates most ripples. Another thing to keep in Paint multiple glazes on, paintings, six are mind : to pre-soak or stretch paper removes some painted at the same time. One Glaze on each of the surface sizing when the paper is heavily sheet in the morning , mother nature dry , try pre-soaked. This will create greater absorbency of to paint two more before the end of the day. the paper, just maybe the colors will not be as This is repeated for many days. Patience, bright? Patience , results are wonderful

I used 9 glazes on this one painting. And, they have sold quite quickly when shown to the public. Mrs. Busybody, quickly got in her little story, “Remember Jeff who sat on the back of the class last summer complaining his colors did not flow across the paper. At this point, I knew her true story would be interesting. Jim told him to wet the paper more and add more water to the pigment. “ Connie asking questions - “Guess what? This years Xmas bonus was the largest “After a further plea, Jim went back to him and on ever given to me from Blackwell and Foster. his approach ,the large size of the tube riveted Do you think it could be that lingering court case that Jim's attention. There it was . A 37 ML. tube of was finally settled? There I go rambling off. Tell me , Winsor Newton Water Mixable, but Jeff never what is the difference between Water media and read the next line - Oil Color. Watercolor Brushes? I see both in the store. The clerk said just a name difference that's all. “ Didn't we give him a hard time, poor guy, always

in a hurry wasn't he. “ Sally chimes in – “I just bought a flat and a #12

Round, both listed as Water media. They were on Connie, if your bonus needs to be spent on sale. Have not used them yet.” brushes, try buying one extra good one.

A good pure Kolinsky sable, will have these I always had an enthusiastic class features, flick the hairs back and forth, they

bounce right back to the natural position. Mrs. Busybody tries to interrupt, I cut her off, did not The body is full, right about the hip line, tip has a want the class to another 30 minutes with her naturally sharp point (not chiseled or cut to thoughts. I go on to explain. shape).

A Water media Brush is different from a Watercolor The Kolinsky hairs become thick in the middle, Brush. then thin down again at the base. This natural There is a big difference. shaping of each hair occurs only on the tail of the Firstly, Water media refers to any medium that is winter coat of the male Kolinsky sable. dissolvable in water, i.e. Watercolors, Acrylics,

Gouache, Egg Tempera Casein, even water soluble So, you can see when many of these hairs are Oil Paints. gathered together, the resulting brush forms a

thick full body and a natural thin point. They have Brushes made for Watercolor have dispersion a great amount of spring and are the easiest to qualities that the Water media brushes do not. control. By varying the pressure on the brush as Water media brushes do not have a sharp point with you paint you can move from a thick line to a very the spring back action we Watercolorists look for. fine line.

Sally - check your flat brush, wet it, does it come to a Expensive is the number one problem, but it will sharp razor edge, or is it chopped off like a Water not dump all the color in one spot. media would. "It has a blunt end, no sharp edge," she replied. But, a poorly made synthetic will tend to dump

all the color in one spot. So, Sally what you may have is a nice looking brush, at a good price, but the hairs or nylon filaments are not suitable for Watercolor Painting. Expensive, yes, but, most students in this class So, are you going to buy lunch next time, with money have about ten or more brushes, where as money saved? spent on those, could have purchased one good one. By the way, Camel hairs have never seen a Camel in their life. Just a name made up. As you know most if not all my paintings are with #14 Round, 1" Flat, and a Liner. The trio is pushing Try buying a good synthetic brush. Some makers have 10 years plus in age. brushes that work extremely well.

Wanda started to discuss her brushes that acted It might be a good time to remind you about the like wet mops with no spring, but did not want to plastic sleeve that the manufacturers place around spend more money buying "Expensive Brushes". I the hairs of your new brush, take it off and throw it explained to Wanda, You have squirrel, Goat or away. Do not attempt to re-sleeve the brush. You Camel hair brushes that don't snap back to a point. might catch a few hairs and bend them back causing Hold the brush vertical and run a finger across the damage to the brush. hairs, it should snap back. THE QUESTION WAS ASKED "HOW TO CLEAN A BRUSH. Debra threw in a few comments about brushes. “Jim, I tried out a few synthetic brushes in the local Well, if you have a "Natural Hair“, do not use soap art store, they did not hold the color or water, they cleaners on them. Soap cleaners are for synthetics just dripped very fast when held vertically and run only. Rinse all brushes by working against the side of out of color very quickly. Could find tons around the water container, do not touch the bottom. Now, $5.00 to $10.00. pinch the tip of the hairs, holding brush with handle up, move the brush in small circles. This will draw the What is happening Debra, is that the nylon hair is water up into the ferrule, tap the brush again and perfectly round and straight, so the color just squeeze the hair dry. Your brush will be free of all rushes down the hair, somewhat like water going pigment right up to the ferrule. If you do this every down a drain pipe. Very hard to control, leaves a time you finish a painting. you will never need to blob at the point where brush first touches the brush soap or cleaner, both of which damage natural paper, then very quickly runs out of color. hairs. Does that make sense to you all (class). Store the brush with hairs hanging down. Second Da Vinci Cosmotop spin Series 5580 - holds more best choice - lay flat. Worst choice - hairs pointing up. water than any other synthetic. Large belly tapers to a fine point. The blend and placement of five different diameters of fine synthetic filaments make this brush perform like natural hair. The long-lasting, high quality synthetic has an energetic spring. Made by hand, so there may be a variation with the handles.

They must have heard you talking about the I always have to dripping brush. What they have done is to put a be careful when I combination of multiple diameters and lengths paint like this allowing for this formation of color carrying pockets within the brush.

The tapered tips make this the best pointing synthetic available. Cost for Round #10 is about $15.00. Dick Blick stocks this brush, Different Brushes Make Different Marks . THE ROUND BRUSH Since the 18th century, the round, pointed, soft- hair brush has been a standard part of watercolorists' equipment. Brushes made of Kolinsky sable (or sabelline) have the greatest amount of spring and are easiest to control. They're particularly well-suited for making organic forms. By varying the pressure on the brush as you paint, you can move from a hair-thin Examples from the past: - Winslow line to a thick, snake-like shape. Homer...... John Sargent.

THE FLAT WASH BRUSH The flat, soft, wash brush didn't become a primary painting tool until the middle of this century. Since then, the 1" aquarelle type brush has been a part of practically every watercolorist's kit. Although it can be manipulated to make a variety of marks, it is best suited to painting flat, geometric shapes characteristic of the "California School. Examples: - Rex Brandt - Marsden Hartley - Frank Web - Robert E. Wood. THE FLAT BRISTLE BRUSH Although not usually associated with watercolor, flat, stiff bristle brushes of the oil painting, sash brush or "Bulletin Cutter" variety are essential tools in some painter's kits. Some of the painters in the "California School" used such brushes to attain large geometric shapes and varied, broken line quality in their work. More contemporary painters employ stiff brushes to create highly expressive gestured marks. Examples: - Barse Miller - Alex Powers - Katherin Liu

Don’t use tiny brushes-they’re an absolute invitation to fiddle.

Every stroke you put on the paper should mean something-if not it shouldn’t be there.

Do think hard before you paint on the paper-not afterwards.

Do remember that the FEWER strokes you use the more professional it looks. If you are tired of producing tight and tedious 2) - THE AMOUNT OF WATER IN YOUR PAINT. watercolors and would like to try for something You should always (or almost always) start with more personal and "painterly”, here are some fresh moist pigment in your palette. suggestions: You can revive some less frequently used pigments with a few drops of water, but don't get in the habit of using that method to soften Start your painting with the biggest brush you've every ancient, diamond-hard color you've got (I don't mean a #6 round but something in the saved. 1.1/2" category) and paint the biggest shapes Put out new paint. The purpose of painting is possible. not to conserve your pigments or keep your Don't worry about staying between the lines of your palette immaculate - it is to produce a drawing. Stand up and use your arm. Try for meaningful and satisfying work of art . That's rhythmic movements rather than accuracy when tough enough without being cheap or painting the smaller elements in your design, compulsively neat. continue to use the largest brush possible and try to describe them with a few strokes. Your first attempts may appear a little sloppy, but with practice you'll begin to develop a more natural 3)- THE AMOUNT OF WATER ON THE PAPER. and “painterly” way to apply paint. This is critical to control in painting. You must be aware of how much water is on (or in) the paper to determine how much water you add HOW TO CONTROL WATERCOLOR to the paint you've mixed on your palette. If the area you're working into is wet and you There are probably some things in life you feel you add wet paint, it will rapidly spread. If the area can't control - speed of rush hour traffic , price of is just moist and you add wet paint, it will push gasoline and your daughter's choice in boyfriends - the moist paint to an edge where it will collect but watercolor shouldn't be one of them . and form a dark rind (or "backwash" or Learning to control watercolor is no more difficult "bloom", if you wish). than learning to ride a bicycle. To control To maintain control you must work into wet or watercolor, to avoid the backwashes and disastrous moist areas with paint that has little or no accidents we all dread, you have to be aware of 3 water added to it. Hence the need for fresh, factors: soft pigment. 1) - THE AMOUNT OF WATER IN YOUR BRUSH. When you work into wet or moist areas with You should always (or almost always) start with a undiluted pigment, the shapes you paint will clean, slightly moist brush. If you have just washed have a soft edge, but will hold their place. your brush in your water pail, you should dry it on a piece of absorbent cotton rag. To get water out of your brush, you can also wipe it on your pants or apron. Or, if you're outside, you can flick it to remove excess water. However, flicking your brush when painting indoors can create some problems. CAUTION: - If you are in the habit of always going to your palette with a wet brush in order to revive your hardened pigments, you'll discover your paint wells will be filled with water. You will have little or no control of how the paint will act on the surface of your painting. Next month our featured Artist will be Tom Lynch Jim Black was born in London, England where he studied commercial art and engineering at the Northern Polytechnic School in London. Working as a design engineer, Jim traveled widely and diversified his work.

He and his family moved to the United States where he sought out Masters of Watercolor Medium - notability, Michael Atkinson, Darryl Trott, Tom Lynch and Nita Engle, studying with them in workshops.

For several years, Jim lived in Southern Mexico where he taught at the Art Institute in San Miguel de Allende. Then, five years later, Jim had an opportunity to teach in the U.S.A. where he held on-going classes and workshops year round until he retired in 2010.

Jim started a website, www.jims-watercolor-gallery.com in 2007, which he and his family put together. Jim has become a great success, both as a professional watercolorist and watercolor instructor, but it's helping others improve their watercolor painting skills that he finds most rewarding. Jim has earned a reputation as a First Class Artist and Instructor.

Many of his students have gone on to become world famous watercolorist in their own right - including Beatrice Uribe, who was one of Jim's students from 2002 to 2004 and now has many of her paintings hanging in Galleries all over the world. She is known as one of the best watercolor artists specializing in painting people in watercolor and credits Jim with much of her success. Jim's Watercolor Gallery

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