Art & Ale, October and November, 2019

For the beginning of this project we are gently layering red (either crimson red, scarlet lake or crimson lake)  in our medium and dark areas and white in the light areas.  This will establish the values and work well as an under drawing for the colors we will use on top.  I still need to finish the leg and ear.  I am saving those areas as demonstrations for those who need to see it again and for those who missed class.  I also saving some wrinkles for demonstration purposes.  The yellow is photographing very brightly, this is after I toned it down while editing the photo.

I started by wetting the paper and dropping in warm yellow at the top and cool yellow at the bottom letting it move around the paper.  After that dried, I started working on each separate bract.  I dampened the individual bract, making it less wet than when I dropped color in the background.  Less wet means I have a little more control and can guide the paint.  I started moving around doing areas that do not touch.

This picture was taken in class with a cell phone so the colors and values are off.

I continued working around the head of the artichoke making sure I don't work next to an area that is still wet.  I also started with second passes on a few bracts working on adding more color and value in the medium and dark areas where needed.  I am building to the darks.  I also showed lifting with a soft brush especially on the blue green too dark bract on the right.  I also use lifting with a soft brush to soften edges when needed.  I showed scrubbing with a stiff bristle brush, one I made myself by cutting the bristles at an angle.  Scrubby brushes are also available for purchase.  I have always made my own.  I wet the scrubby and rub it over the are I want whitened.  Remember, I usually do this at the end of a painting as scrubbing changes the surface of the paper and is difficult to paint around.  I will use glazing to adjust colors as needed.  I mixed the green I used with my green blue (DS pthalo blue green shade) and my warm yellow (DS permanent yellow)

DAC CP October, 2019

Continuing to use the 6 colors (warm and cool red, warm and cool yellow, purple blue and green blue), I worked on adding more shadows.  The values, the lights and darks, are important in order to create form.  I have gently layered the color to make skin tones in the shadows and in the light. 

If you are struggling with the values, do this piece (or another piece of your choosing) with a dark pencil of any color, just use one color.

On the shirt I added blue and used a stump and eraser to smooth and shape the blue.  I did not add the patterned shirt as in the reference photo as that would be distracting here and would pull the viewers eye to the bottom of the page.

This piece is not finished.  I will continue working with the same 6 colors gently layering and blending working towards the darks.

I worked on a red grape adding shadow and highlight using scarlet lake and pomegranate (crimson red and/or crimson lake will work as well), white, and black grape or indigo.  I added some more background and need to continue the background and finish the grapes and stems.

BAL CP & MM October 2019

I added a little more light and some color and some black to help it pop more.  need to finish the neck...

I worked a little on the left side of the neck and more on the tongue (added highlights).

I added a lot of dark using black over the color that were there.  I added more shadows in the red with black grape/cherry.  I shaded the eye on the shadow side.  I worked on the beak adding color and value and soothing it with white and a stump.  It has quite a bit of work yet.

DAC CP October, 2019

I started adding peacock blue )green blue) to the left side eye.  I shaded in the peacock blue, carefully, as well as a little scarlet lake (warm red). We will work on her more in the next class.

I worked on the shading of the grapes, the stem, and the background.  I shaded more color and value on the purple and green grapes and then went over each grape with white to smooth and blend the color and value.  Then I went back in with the same colors to add another layer of color and reestablish the values. I also use the stump to blend and smooth the layers.

I worked on adding a background to the bottom.  Backgrounds can add interest and depth and help to clean up edges.  Typically I use colors from the subject in my backgrounds.  I do sometimes add other color, but I do so carefully and thoughtfully. When I change from one color to another I overlap the colors and blend them together to make smooth transitions.

BAL CP and MM, October 2019

I worked on the tongue.  I did a layer of peach first and then used white and some pomegranate, lightly.  I also used some scarlet lake and more peach and white.  In the shadow I used pomegranate and black grape and smoothed it with white and then used black, lightly for the shadow. I often do layers alternating color (1-3 layers of color) and white.  The amount of alternating layers varies depending on what I am trying to do and how it's looking.  The white blends the color.  I used ink on the moth, the gums.  i then used whit ink on the whitest highlights.  Then I used white, black, terra cotta, and burnt ochre pencil.  Still working on the edges of the smile, it needs to be lightened and textured to look like fur (rather then the joker from batman). I added a little more light and dark to areas of the face and ear -using white, burnt ochre, dark brown and black mostly.  I worked on the muzzle with a lot of white and some black, pomegranate (lightly and carefully), peach, and true blue.

I used mostly scarlet lake and a little pomegranate.  I used a little brown ochre and terra cotta and scarlet lake on the neck.  I used spanish orange in the eyes.  I shaded it in and then melted it with rubbing alcohol and a brush.  

I used black and started adding feathers with a curved line pencil stroke going in the direction of the feathers.  I used some scarlet lake on the eye to shade it more orange and then blended with white and then added a shadow with scarlet lake.  I used black for the pupil.  I used scarlet lake, pomegranate and black grape (indigo with work) on the comb to shade the dark area.  I used a scribbly stroke to make texture.  I started adding scribbly scarlet lake to the red face areas.  I used spanish orange, then brown ochre and then white and then more brown ochre and some dark brown on the tip of the beak.  I started shaping the beak.   

DAC CP October, 2019

Step one of the color mixing process.  I usually start with yellow.  I used my cool yellow  on the scarf.  My cool yellow is yellow chartreuse - lemon yellow will work and canary yellow will work if it's all you have.  I used my warm yellow on the face skipping the lightest parts.  My warm yellow is spanish orange - yellow ochre or goldenrod will work and canary yellow will work if it's all you have.  I did use a clean stump to smooth the layers.
This photo was taken in class under poor lighting with a cell phone so the colors and values are not correct.

Step two in the process is on the skin with a red.  I used mostly warm red and went over the warm yellow paying attention to values.  My warm red is scarlet lake - crimson red or permanent red will work. I added a little cool red in some cooler shadow areas.  My cool red is pomegranate - crimson lake will work.   I used a clean sump to smooth the layers. 
This photo was taken in class under poor lighting with a cell phone so the colors and values are not correct.

I used peacock blue next and started working on the scarf (the first layer is not completed).  I paid attention to values and used a scribbly pencil stroke along with a little smooth as well.

BAL CP & MM October, 2019

I did a little more of the white (still need to finish it on the body) and added more color to the face.  The color I am adding is burnt ochre, true blue, spanish orange, and pomegranate.  I am also using black to darken some areas and blend other areas.  This will need to be a little lighter than is is currently.

I have started adding colored pencil over the watercolor on the ear on the right as well as the eyes and nose.  I used some black ink pen on the eyes and nose and some white gel pen for the highlights in the eyes.  I used burnt ochre, terra cotta, dark brown, black, true blue, cream, and white colored pencil so far.  For the fur make the strokes in the direction of the fur.  And think values, values, values!

DAC CP October, 2019

I worked on the neck a bit more and also worked around the eye, on the horns and on sections of the face.  It is still in the middle of the process as it needs more values, color, and details.  I will continue to refine as I go, especially looking at the values along with color and detail.  The colors I have used are cream, white, black, burnt ochre, dark brown, terra cotta, true blue, pomegranate, spanish orange, scarlet lake, indigo.

This is colored pencil on Artspectrum Colourifx olive green sanded pastel paper.  I start the process when working on a medium or dark color tinted surface with a light color such as white (or cream, or another light color).  I did this value study in white.  I finish the value study before adding color.  The picture of this piece has a shadow over it and is off a little color wise due to the lighting under which the photo was taken.

I started adding color.  On the red grape I used scarlet lake and pomegranate.  You can also use permanent red for the warm if you don;t have scarlet lake.  Crimson red is a nice mid red that leans a little cool so it can work alone or with other reds.  Crimson lake will work as the cool red if you don't have pomegranate.
On the green grape I used yellow chartreuse, olive green, and grass green with a little dark green at the bottom on the dark part.  I did olive green over the entire grape first.  Then I did grass green at the bottom and faded it up towards the middle of the grape.  Then I did yellow chartreuse from the top down and shaded it lightly over the grass green to blend them together. I did a little dark green from the bottom fading it up just a little.
On the purple grape I used black grape and pomegranate.  Indigo will work as the dark and crimson lake as the red if you are missing one of the colors.
On the stem I have used yellow chartreuse so far.
These are the beginning layers.  There are more layers to add as we go along in the process.

BAL CP October, 2019

Colored pencil on black. My sneaky way to get a value study in (and the best way to work on black) is to start the project with white. I started working on the light areas in light layers building up to the lightest light.

Due to this being a demonstration and considering time constraints, I started adding color before I had completed the white.  Normally I would finish the white first.  I added colors such as terra cotta, scarlet lake, true blue, spanish orange.  Black can be used to fix area and adjust the value and color.

This is an under painting for a mixed media piece.  I am working on student grade hot press paper.  I worked wet on dry.  I mixed a brown (mixed the 3 primaries leaning it toward red and yellow makes brown) and I mixed a dark (mixed the 3 primaries leaning it toward blue).  I have loosely painted the subject.  This speeds up the colored pencil process by having a layer of color already present.

DAC CP October, 2019

Colored pencil on colored mat board.  Step one is to use white or cream or light peach to shade in the values of the giraffe.  I shade in light layers that I build up to the lightest value.

Step two is to use either burnt ochre, sienna brown and/or terra cotta to shade in the spots and the mane.

I added the eye using some color first and then I used black.  I added light highlights with white but kept them from being pure white since the eye is in shadow.  On the neck I started shading the spots.  I added some cream onto the spots especially around the edges in the direction of the fur.  I added some dark brown and some red and terra cotta.  If you study the spots they are not the same value or shade of brown.  I used dark brown to lightly add the shadows on the neck.  I added white to the lightest parts of the neck.  I added some burnt ochre to light parts of the neck, again in the direction of the fur.  Next class I will work on the face and head and the mane, adding shadows and highlights.  I will keep refining the neck as well.

Art & Ale September, 2019

I added a few more layers to the blue blueberry.  Is still needs a bit more darkening.  I used mostly copenhagen blue and pomegranate so far.  I may add some peacock blue at some point as well. Remember to use the stump for smoothing and remember to clean the stump!  I used more peacock blue and yellow chartreuse in light layers on the left bottom berry.  I used both scarlet lake and pomegranate on the red parts of the berry.  I added a little pomegranate to the bottom of the berry to make it more shadowed.  I used the stump between layers.  On the red berry I used both reds.  I did quite a few layers.  After each layer I used the stump.  I used copenhagen blue on the left side and some blue to make it darker on the inside circle thing.  As for the background.  Know that if this were not a class i would not have done the colors in a small area only.  They would fade out to the edges.  I added the colors in layers overlapping in the transition areas.  Overlapping is tricky and requires patience and light layers.  

This is the full blueberry piece I did at home.  We did the berries on the left side in class.  Use this to help you if needed.

Sertoma CW Aug. and Sept. 2019

I worked on the branch, the leaf and the bottom of the back pear adding darks and details.  Have more to do but it's coming along.

Added more shadows to the body, added a background.  It needs more detail and darks work, but it's coming along.

This one still has issues, but it's come a long way as it has been a problem child from the start. The eye needs to be shaped correctly, it is incorrect at this point.  I lost it's shape. And there needs to be more values, color, and details and the background behind her head needs to be incorporated.  But I am pleased considering how this was going.  White gouache is how I fixed this one.

Art & Ale CP September, 2019

I worked on the eye.  I shaded it with brown first and then black.  I added white to the highlights and then gently went over the highlights with black to push them back a little.  I worked on the mane with cream first making a pencil stroke that went out from the body.  I then did the same with burnt ochre and a little dark brown.  I then highlighted that with cream (using the same out from the body stroke).  I used all the colors - white, cream, burnt ochre, dark brown and black to work on the areas of the face and ears and horns.  In areas that had texture I used cream to make the fur textures.  I used the 2 browns and black in the darkest areas in the places like the ears, horns, nostrils, and on some of the spots.  I used true blue on areas around the eye, part of the face, around the back of the nostril, and the back of the head.  This is very close to being complete.  At this point I would spend time studying it and making minor corrections and additions as needed.

We started shading the blue blueberry.  Use either Copenhagen blue or denim blue (ultramarine blue will work as well).  Shade lightly using the side of the pencil in small circular strokes.  Pay attention to the values!  I then used pomegranate for the red parts shading lightly using the side of the pencil.  I used a stump after each layer to further smooth the pencil.  Remember to clean the stump between uses, I use sand paper to clean it.

I did a few more layers with the same blue and red. I  Shaded lightly using the side of the pencil in small circular strokes.  Keep paying attention to the values! I continued using a stump after each layer to further smooth the pencil.  I am still working on this blueberry.  Worked on the green blueberry to the left I started with yellow chartreuse (lemon yellow will work as well).  Shaded lightly on the bottom part.  Pay attention to the values! Then using peacock blue I shaded again and then used the stump. Pay attention to the values! Next I used scarlet lake lightly at the top and then used the stump. Remember to clean the stump between uses, I use sand paper to clean it.

Sertoma CW August and September, 2019

I did two passes of glazing.  I did this before class since it's the last class and it needs to be dry to work on in class.  The first pass was a warm yellow orange and the second pass was a warm yellow.  I made sure it dried overnight between glazes.  Yours may or may not need these glazes.  Mine did.  I did not wet the paper before.  I wanted the paper to be completely dry so the paint underneath would mostly stay put.  I mixed a light version of the glaze color and then gently applied it (do not rub the brush much on the surface when applying a glaze).  The first glaze was applied to the entire person, hair and all.  The second was applied only to the skin and the front part of the hair and shirt (to give it a glow of yellow).  Whenever I glaze I am aware that it truncates the contrast or range of values and that I will need to reestablish the contrast/values.

Art & Ale CP September, 2019

I used the same base colors - cream, white, burnt ochre, and dark brown plus a little black with the dark brown on the darker spots. I used the same process as we used on the neck to worked on the spots on the face and head.  I will show the next steps in the next class.

Sertoma CW August and September, 2019

Started adding shadows to the back pear.  Need to add more shadows and some details on the pears.

Added some more shadows on the body and the head.  Need to keep adding shadows as well as details and texture.  I worked on his p\face near the nose adding the shadows and textures on his muzzle.  I used white gouache to show how to add highlights and fix areas.

This is after the second pour that I did at home before class.  I used orange and yellow again.  it needed to be a bit darker.  I apologize as the quality of this photo is poor.

I wet the paper within the outline of the woman.  I added a slightly neutralized blue to start shading her, adding shadows. A color can be neutralized adding the color opposite to it on the color wheel.

I used a purple brown to add more shadows.  I added this brown into the hair as some of the skin peeks through the hair.  I will add more shadows and color to the face and add more color and dark to the hair in the next class.

Art & Ale Colored Pencil September, 2019

We started the giraffe with cream and white, shading lightly in a circular motion with the side of the cream pencil.  I did several layers of the cream and white (the white was added into the lightest areas).  I then concentrated on the neck area.  I made one light pass with cream, shading the spots using the side of the pencil.  The I used burnt ochre adding a few layers of that in the spots, lightly using the circular motion. I then added dark brown into dark areas of the spots and scarlet lake (crimson lake is fine) into the spots.  I added more cream in the light areas of the spots and more burnt ochre if needed.  I lightly shaded burnt ochre and dark brown over the cream on the dark shadow side of the giraffe's neck and burnt ochre into the cream on the light side as some areas on the light side have a red brown color.

Sertoma CW August and September, 2019

I started adding more value, color, and texture to the pears and the leaves.  Working on the shadows.  Added a little dark to the right side of the background of the pear to pop the pear forward.  Need to add some darker darks next class on the pears as well as add details.

Add some darks around his face.  More sill needed as well as some of the details, will do that next class.

Watercolor pour.  Step one is to add masking to the lightest areas.  Then I poured red and yellow.  I left puddles sitting around the edges and in the middle and as you see it blossomed.  The puddles need to be wicked away otherwise as the paper starts to dry the puddled blossom in towards the dry paper.  I plan to do a second pour before class as this one was a bit too light.

Exhibit

NCBG ICP August, 2019

Worked a bit more on the background especially near the top.

NCBG ICP August, 2019

This is how it looked after class.

I worked on the parts of the stem and all of the grapes, especially those I had left unfinished.  I worked on the background as well.  I layered color and then smoothed, lightened, and/or blended it with white.  I layered color and used my fingers and/or a stump to blend. I kept shaping it until it was pleasing to my eyes.  Towards the end I used lots of yellow both the warm and cool (spanish orange and yellow chartreuse).  I will look at it over the next few days and make any adjustments as I see things that bother me (and not sure the top of the background is done yet).