Sertoma Pen & Ink

Pen and ink chicken after more work with watercolor, a little white gouache, and ink work.

This is the pen & ink wash with pointillism/stippling and cross hatching on top.

This started as pointillism/stippling.  I finished it adding some cross hatching, ink wash, and watercolor. 

Sertoma, CW, Nov & Dec, 2012

This is the watercolor horse after adding more values and detail.

This is the pintsettia after warming it up with yellow and adding more detail and values.

Sertoma, AA, Nov & Dec 2012

This is the acrylic horse after more work with values and details.

This is the poinsettia after class.  I painted the white right after class as I was not pleased with the background.  I will layer more color as well as add more detail and value to the flower.  It's still needs quite a bit of work.

Sertoma, CW, Sept./Oct. 2012

This started as gouache over a watercolor background.  I have now added colored pencil.  

Tuesday Class

Watercolor on Masonite primed and prepped with Absorbent ground.  I have added more petals and worked all around with watercolor and white gouache paying attention to values and details as I go. 

Colored pencil on Dura-lar Matte, black and white side.

Colored pencil on Dura-lar Matte, color side.  I have used pomegranate, true blue, violet, dark green, indigo, and chartreuse so far.

This is the tomato I started in acrylic for class.  I decided to work on it with colored pencil (no ground in between).  I like the texture the acrylic paper I used makes with the colored pencil and it took the pencil fairly well.

NCBG Gouache and Acrylic

Gouache and watercolor - making textures.

Acrylic - making textures.

Gouaches and Acrylic textures on 140 lb. cold press paper.

Acrylic pea painting.  This started by wetting the paper, dropping in the acrylic color, laying crumpled wax paper on top and a book to hold it down.  Do not remove before it's dry and make sure it is on before the paint starts to dry.  Remove the wax paper (after it's dry!) and then transfer the drawing and paint on top of the texture with the acrylic.  I have used only 3 colors and white (Golden Fluids Acrylics - primary yellow, anthraquinone blue, quinacridone magenta).

This is the gouache with the background added after the subject matter was started.  Wet the paper and drop the color.  The paint will go where the water is.  Remember, adjustments must be made as far as values with the change from white to texture and color/

Gouache pea painting.  This started by wetting the paper, dropping in the gouache color, laying plastic wrap/saran wrap on top and if it won't stay down use a book to hold it down.  Do not remove before it's dry and make sure it is on before the paint starts to dry.  Pull the plastic wrap (after paint is dry!) and transfer the drawing.  Paint on top of the texture with the gouache, carefully.  I have used only 3 colors and white (Windsor & Newton gouache - indigo, permanent rose, lemon yellow).

Colored pencil on green mat board.  I started with white and did a value study.  I used canary yellow and chartreuse on the leaf.  I used violet, true blue, indigo, and pomegranate on the petals.

Sertoma, CW, Sept./Oct. 2012

This is gouache over a watercolor background.  I added some gouache color to the background and hat.

Tuesday Class

This is watercolor on primed Masonite prepped with Absorbent Ground.  I have added more color as well as details with watercolor and gouache.  The gouache was used to sharpen some edges and add some details (on the leaves and glass so far).

This is colored pencil on dura-lar matte.  This is the black and white side.  I shaded more values here using a black pencil only.

This is colored pencil on dura-lar matte.  This is the color side.  I have shaded only 2 petals on this side so far using a mulberry and blue violet pencil so far (which I am going to change these colors as I checked the light fastness rating and they are not good...).

Sertoma, CW, Nov & Dec, 2012

This is the horse super imposed over the colorful washes of watercolor.  I mixed a dark brown (indigo and sienna brown) and started painting the horse.  I added color to the brown washes as I went along (cobalt and new gamboge).  I paid attention to the values (lights and darks). 

This is the pointsettia after adding more color and value.  The background has had several glazes of color.  This needs more color glazes, values, as well as details before it will be complete.

Sertoma, AA, Nov & Dec 2012

This is the beginning of painting the super imposing the horse over the colorful background.  I mixed a brown (can be done by mixing 3 primaries or using a brown from the tube).   Pay attention to the values (lights and darks).

This is the poinsettia after another layer of color.  I has quite a few more layers to go.  Remember on the background I showed several different techniques.  The left side has the white and a partial layer of color over the top.  The right side is the original dark with several layers of color.  This has a little way to go to be complete (layering color and adding detail).

Sertoma Pen & Ink

I worked on this class demo a little more.  I added more cross hatching, scumbling, and pointillism/stippling.

NCBG gouache and acrylic

A version of the acrylic exercises

This is the acrylic painting of the green pepper after I layered some primary yellow over sections of the green.

This is the ground cherry with areas that I demonstrated in class.

NCBG gouache and acrylic

These are photos of the acrylic exercises and examples before class Saturday.

This is the acrylic exercise sheet.  I gave this to you as a handout.  You also have a copy of written instructions to help (and hopefully you remember most of the demo...)

This is the start of an acrylic painting.  It is an example of mixing local color and value study approaches into one piece.  I have done only one pass of color/value so far.

This is a 'local color' acrylic example.  I used quinacridone magenta mixed with a little primary yellow for the red and anthraquinone blue and primary yellow for the green.

This is the 'local color' acrylic example further along.  I added values as well as details.  It still needs some glazing and a little more work.

This is a start on an acrylic painting.  This is the local color approach and I have only made one pass so far.

Acrylic Ground Cherry.  This is a small partially finished acrylic painting using the techniques discussed in class.

This is the 'value study' acrylic example.  I mixed quinacridone magenta, primary yellow, and anthraquinone blue to make grey and used the acrylic as 'watercolor' for a value under-painting (similar to grisaille).

This is the 'value study' acrylic example further along.  I added layers and values as well as details.  It still needs some glazing and a little more work. 

Colored pencil (Linda's class)

Colored pencil, dark pencil on white paper.  I used a dark umber pencil (it is showing up as black - the photo was taken in the early morning and did not record the color correctly, it is very 'blue').  I concentrated on the dark values.

This is the hawk after a few layers of color on top of the dark umber value study.   I added mostly pomegranate, true blue, sienna brown, canary yellow.  I quickly demonstrated a dark background in front of the beak (dark umber with layers of true blue and canary).  The background could easily be kept light rather than dark (your choice).

Colored pencil, light pencil on black paper.  I used a white pencil.  I concentrated on the light values.

This is the hawk after a few layers of color on top of the white value study.   I added mostly pomegranate, true blue, sienna brown, canary yellow, indigo, dark brown, and a little black.

**All the drawings are in the beginning stages.  I will continue adding color, paying attention to the darks and lights (refining the values as needed), and adding/refining details as I go.

The photo used in class

Photos for classes

Sertoma, AA, Nov & Dec 2012

Acrylic on canvas panel.  This is an under painting.  I added thinned paint (thinned with water and polymer medium).  I used quin. magenta, ultramarine blue, and hansa yellow medium.  You use the colors you need.  Be experimental.

Acrylic value study under painting (grisaille).  I mixed a red violet and painted the flower paying attention to the values and adding texture with water and brush strokes.

Sertoma, CW, Nov & Dec, 2012

Watercolor expressive under painting.  I wet the paper and added light versions of 3 colors (I used perm. rose, viridian, aureolin) allowing them to flow as well as splattering and adding 'blossoms' with water as well.

Watercolor value study (grisaille) under painting.  I first wet the background and painted it with values of neutralized red (red with a little green).  I added salt for texture (add salt when the paper is wet - shiny but not a puddle).  Next I used the same red to paint the flower paying attention to the values (lights and darks).  I painted some petals by wetting the petal first and adding the color and value.  On some I painted the petal dry adding a dark and pulling the color and value with a wet/damp brush.  You can adjust the values with additional layers of the red as needed.  Next, I glazed green (a mix of cobalt, aurolin, and water) over the red background and added a few areas of the aureolin and cobalt too.  The bottom right shows where I added more salt after the green was added (if you need more texture)