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)

Tuesday Class

Watercolor on primed Masonite prepped with Absorbent Ground (Golden Acrylic product).  I used only cobalt and permanent rose in various proportions to make the purples I needed.  I mixed the green with cobalt an aureolin.  I did some negative painting as well as washes on the petals and the glass jar.

Colored pencil on Dura-lar Matte.  I started on the black and white side with a black pencil concentrating on drawing the lights and darks (the values) to create form.  I used the eraser as a drawing tool as well as the pencil.

This is the view from the color side.

NCBG gouache and acrylic

Gouache Ground Cherry.  This is a small finished gouache painting using all the techniques discussed in class. 

This is the start of a gouache painting.  It is an example of mixing local color and value study approaches into one piece.  I have done several passes on the flower and green pepper and one pass (or none) on other areas.

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

NCBG gouache and acrylic

This is the start of the small  gouache examples I demonstrated in class.  the one on the left starts with a 'value study' under-painting.  The one on the right starts with local color.  See the red peppers below for further examples of this.

This is a demo (partial) of the  gouache exercise sheet.  The full one is below.

This is a 'local color' gouache example.  I used permanent rose mixed with a little lemon yellow for the red and indigo and lemon yellow for the green.

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

This is the 'value study' gouache example.  I mixed permanent rose, indigo, and lemon yellow to make a warm brown and used the gouache as watercolor for a value under-painting (similar to grisaille).

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

This is the gouache 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...)

Sertoma Pen & Ink

Pen & Ink with watercolor on Bristol Board.  The one on the right is watercolor first and the one on the left is pen & ink first.  Both are barley started. Micron pen size 01.

Ink wash on Bristol Board.  I added a little bit of cross hatching and pointillism/stippling on top. India Ink, water, paint brush.

Cross hatching, hatching, scumbling on Bristol Board.  Remember on this one I was demonstrating how to incorporate accidental splotches (as well as hatching). Crow-quill and India ink.

Pontillism/stippling on Bristol Board.

Pen & Ink over acrylic on a canvas panel. Micron Pen size 01.

Pen & Ink over watercolor on watercolor paper.  Micron pen size 01.

Various pen & Ink techniques on card stock paper.