tag:blogger.com,1999:blog-68619591776516894022024-03-12T18:29:06.581-04:00ARThouse Studio SchoolARThouse Studio School: A discourse on the teaching of art with an emphasis on watercolor, information for art students, and the web log of Susan Avis Murphy.Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-6861959177651689402.post-14114355973821450352014-09-09T09:27:00.000-04:002014-09-27T07:42:28.900-04:00Workshop on the rivulet technique with the Delaware Watercolor Society<div dir="ltr" style="text-align: left;" trbidi="on">
I was invited to teach a two day workshop for the Delaware Watercolor Society in Rehoboth Beach. The workshop took place at the beautiful Glade Community Clubhouse. The workshop centered around painting the image of a statue using my rivulet and lifting techniques.<br />
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I have talked about this "rivulet technique" before (see October 2012). What the heck is it? It is a technique I developed about 30 years ago to create an interesting texture on the watercolor paper at the beginning of the painting process. After the entire background is washed in using this texture, the painting is then developed by lifting off the light areas and glazing the darker areas. Here is an example<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Gudea of Lagash</i> 13x20" Susan Avis Murphy</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-jPiYovE9DfM/VA7rbjuDbSI/AAAAAAAAB2w/K5SYe_889g0/s1600/Gudea%2Bof%2BLagash--closeup.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-jPiYovE9DfM/VA7rbjuDbSI/AAAAAAAAB2w/K5SYe_889g0/s1600/Gudea%2Bof%2BLagash--closeup.jpg" height="400" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">detail showing rivulet effect</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><img border="0" src="http://4.bp.blogspot.com/-7WE8TOO40ms/VA7iuKcWR9I/AAAAAAAAB0M/zt8uWQ95c4E/s1600/DSCN6339b.jpg" height="277" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Martyr</i> (a statue of Saint Sebastian by Joseph Sheppard)</td></tr>
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I started by showing examples of paintings done in this manner. Originally I applied this technique to my construction rubble paintings, and gradually expanded to other subject matter. It is an unusual way to paint in watercolor, in some ways more akin to oil painting where we start with a raw umber background wash and then work toward lighter and darker areas from there.</div>
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Students either brought their own photo references of statues or they borrowed one of mine. The first step was to get the drawing onto the watercolor paper, either by drawing freehand or using a paper template to trace the image with graphite transfer paper. I feel that this is justified to save time (especially in a workshop) if you are already skilled at drawing. If not, please practice!<br />
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Students came in with some fabulous reference photos!<br />
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Now I started my demonstration of the rivulet technique. Below is an example of the first step. You start by mixing up a small tub of raw or burnt umber (best if by Winsor & Newton) to a heavy cream consistency. Have other non-staining colors ready. This approach relies heavily on using non-staining colors that are "liftable". Now wet the paper (Arches 140 lb. cold press) all over and then put splotches of color, mainly raw umber, all over the sheet. Be sure to keep it wet throughout this process. Add a few splotches of raw umber that is much thicker too, since this is where many of the rivulets will form.<br />
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Next you are going to hold this sheet vertically (really must be on a board) and then spray <u>gently</u> with water. The paint will begin to drip down, and form "rivulets". This is more than just dripping paint, which any color will do. There is something unique about the raw umber, where its sticky quality causes the water to run down through it forming interesting little channels or striations. Sorry but I don't have a photo of the water spraying step.<br />
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After this background wash has dried thoroughly, you can start "lifting out" the light areas with a stencil brush. The painting I did as a demonstration was of a statue of a shaman that I photographed in Sedona, Arizona, shown below. He is already very textured, and I thought he would lend himself beautifully to the rivulet technique!<br />
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I usually begin lifting with the fine details of the face. Very small stencil brushes with a flat top are best for this. For this purpose, you need stencil brushes that are made of natural hog's bristle, that are a medium stiffness, and that are round and flat across the top. For fine details, you need a small one of these with hairs about 1/8" long. You can make your own by giving a small bristle brush a little crew cut! To lift the paint, just wet the brush, scrub gently on the paint, and blot with a paper towel. You will be amazed at how easily the raw umber lifts off, and how nicely you can create form with soft and somewhat hard edges.<br />
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As you can see, I have also started to glaze darker colors on the figure. For glazing, you want to use clear transparent colors and apply them gently so that you do not wash off the underlying rivulet wash. The rivulets can show through the entire picture if you are careful! Some of the other colors used in the painting were:<br />
for the background wash: verditer blue and brown madder (both liftable)<br />
for the transparent glazing: permanent violet, cobalt blue, titanium white, brown madder<br />
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I continued working on the body. Lots of decisions to make about what to emphasize and how to handle things. Below you can see I have glazed the upper background with a thin wash of titanium white to take it down a notch and provide more contrast with the figure.<br />
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The shaman had an interesting kind of "shield" on his chest which was challenging, but I finally figured out how to paint it with a combination of lifting and glazing techniques. Also, below you can see that I have glazed the lower background with dark permanent violet, gradated up to a lighter shade, to bring out his body.<br />
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This photo was taken back home under different lighting, so the color appears a little different. This is as far as I have gotten during the workshop. I am thinking of introducing some petroglyph shapes into the background.<br />
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<a href="http://4.bp.blogspot.com/-qQKq_lWf-uw/VA7orbQHCfI/AAAAAAAAB1o/nub6rCbll0U/s1600/The%2BShaman%2B(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-qQKq_lWf-uw/VA7orbQHCfI/AAAAAAAAB1o/nub6rCbll0U/s1600/The%2BShaman%2B(1).jpg" height="400" width="248" /></a></div>
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In this close-up, you can see how the rivulet wash looks, and see how the verditer blue applied in the very beginning is still showing though with nice splotches of bright color.<br />
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Now the students tried it! First they practiced achieving the rivulet effect on a small piece of paper. It is not easy the first time, and takes some practice to get the right consistency of paint, and to spray the right way.<br />
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Here are some of the rivulet washes that people successfully put on their final paintings:<br />
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And here are some examples of students at work the second day, when they were fairly far along:<br />
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Last but not least, here are some samples of almost finished paintings! I wish I had more photos of the finished paintings. If you were in the workshop, please email me with photo of your painting, even if it is not quite finished. I would love to add it to this article! If you give me a title, I will include your name and title with the image.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-psb68vgOOig/VBhjHLlcV8I/AAAAAAAAB6k/tYURjm-YbD8/s1600/Jan%2BHenning%2B--%2BPortside.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-psb68vgOOig/VBhjHLlcV8I/AAAAAAAAB6k/tYURjm-YbD8/s1600/Jan%2BHenning%2B--%2BPortside.jpg" height="400" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Portside</i> watercolor by Jan Henning</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-WpTlYXqWNLo/VBhjHCFO5iI/AAAAAAAAB6g/mj-rnLt7cCg/s1600/Pat%2BHoey--Greek%2BWoman.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-WpTlYXqWNLo/VBhjHCFO5iI/AAAAAAAAB6g/mj-rnLt7cCg/s1600/Pat%2BHoey--Greek%2BWoman.JPG" height="400" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Greek Woman</i> watercolor by Pat Hoey</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-4LTzUZqi9eA/VCP46LkleXI/AAAAAAAAB7U/nbbjIaHqyzk/s1600/Isabel%2BPizzolato--blog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-4LTzUZqi9eA/VCP46LkleXI/AAAAAAAAB7U/nbbjIaHqyzk/s1600/Isabel%2BPizzolato--blog.jpg" height="400" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Emerging Serpent</i> by Isabel Pizzolato</td></tr>
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<a href="http://2.bp.blogspot.com/-0p6dC-a6jVQ/VA7t32JUb8I/AAAAAAAAB44/LljmlVV6Hkg/s1600/IMG_0291.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-0p6dC-a6jVQ/VA7t32JUb8I/AAAAAAAAB44/LljmlVV6Hkg/s1600/IMG_0291.jpg" height="400" width="322" /></a></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qSmdQj8F1ng/VA9E40Fg5yI/AAAAAAAAB50/WeO79UCFfwA/s1600/final%2B6x9%2B180%2Bdpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-qSmdQj8F1ng/VA9E40Fg5yI/AAAAAAAAB50/WeO79UCFfwA/s1600/final%2B6x9%2B180%2Bdpi.jpg" height="400" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Art Institute, Chicago</i> watercolor by Cathy Walls<br />
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As you can see, the members of the Delaware Watercolor Society who took this workshop did some fabulous work! People seemed to enjoy the process of using stencil brushes to lift out their shapes and give form to their statues. I feel it is very liberating because it is so easy to achieve those elusive soft edges just the way you want! I don't always paint this way, but even with my other painting I often use stencil brushes to soften edges and get exactly the look I want. After all, they say "it all happens at the edges", and I think this is really true with watercolor. So, the take home message of this article is: Consider using liftable paints and stencil brushes to create form in your paintings!<br />
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Thanks to the Delaware Watercolor Society for inviting me to teach this workshop-- it was a wonderful group and a lot of fun!<br />
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Susan Avis Murphy, ARThouse, 9/9/14 <br />
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-15852562677761544992014-06-02T06:53:00.000-04:002014-06-02T06:53:43.336-04:00Watercolor Demo Class: Shasta Daisy Daydream<div dir="ltr" style="text-align: left;" trbidi="on">
Continuing with my demonstration class on flower painting, I decided to use the photo below, which was actually a small part of a large flower arrangement. We spent quite a bit of time discussing getting good reference photos of flowers. It is just as difficult to photograph flowers as it is to paint them! One of the main problems is getting a good balance of light, so the shadows are not too dark, and the lights not too light. Contrary to what you might think, flower photos taken on an overcast day or in the shade often come out better. But dazzling sunlight is so beautiful on flowers, so here are some tips on photographing flowers in sunlight:<br />
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<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: inherit;"><span style="font-size: 10pt;">In situations of
very bright sunlight and dappled light on flowers the resulting images can
be very confusing.<span style="mso-spacerun: yes;"> </span>However sunlight
on flowers can be so beautiful.<span style="mso-spacerun: yes;"> </span><u>Compose
the picture so the bright light effects fall upon a darker, simple
background</u>, not a tangle of leaves and stems.<span style="mso-spacerun: yes;"> </span></span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: inherit;"><span style="font-size: 10pt;">The <u>camera
will exaggerate light and dark</u>, making very stark value patterns,
unlike what you see with the naked eye.<span style="mso-spacerun: yes;">
</span>Just keep this in mind when you paint the picture—you may not want
the darks so dark. </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: inherit;"><span style="font-size: 10pt;">Bring out
details in the shadow areas <u>by aiming the camera at the dark shadows
while you are focusing and holding the button down halfway.</u><span style="mso-spacerun: yes;"> </span>This way the light meter will adjust the
exposure for the shadow areas, making them lighter.<span style="mso-spacerun: yes;"> </span>However, this will make the sunlit areas
even lighter.<span style="mso-spacerun: yes;"> </span>You can take several
shots, changing where you aim and take light readings.<span style="mso-spacerun: yes;"> </span></span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: inherit;"><span style="font-size: 10pt;">Try to compose
an interesting interconnected white or light area through the
painting—this will help give it a good overall abstract design.</span></span></li>
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<a href="http://4.bp.blogspot.com/-Gi5VcW1M18c/U4xKf6ClQDI/AAAAAAAABtM/vDO__xNouxM/s1600/IMG_5546b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Gi5VcW1M18c/U4xKf6ClQDI/AAAAAAAABtM/vDO__xNouxM/s1600/IMG_5546b.jpg" height="267" width="400" /></a></div>
<b>Step 1.</b> I like the composition as is, and <u>traced it onto my watercolor paper</u> using Saral Graphite Transfer Paper. To make the template, I enlarged the image with Photoshop to fit the available space (9x13") and then I printed it out in two sections on my desktop printer and taped them together. Actually I lightened the template a little to save ink:<br />
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<a href="http://1.bp.blogspot.com/-YpU8tnLJDOs/U4xKeh1MbxI/AAAAAAAABtI/18JZhmzMRKs/s1600/IMG_4815.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-YpU8tnLJDOs/U4xKeh1MbxI/AAAAAAAABtI/18JZhmzMRKs/s1600/IMG_4815.jpg" height="308" width="400" /></a></div>
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<b>Step 2.</b> Here is how the transfer came out. I <u>lightened it a little</u> with a kneaded eraser so the lines would not show too much.</div>
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<a href="http://3.bp.blogspot.com/-PT5erh7hKoE/U4xPWHNVU4I/AAAAAAAABtw/Pmn53v2GGGo/s1600/IMG_4816.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-PT5erh7hKoE/U4xPWHNVU4I/AAAAAAAABtw/Pmn53v2GGGo/s1600/IMG_4816.jpg" height="307" width="400" /></a></div>
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<b>Step 3.</b> I <u>applied masking fluid</u> to the absolute white areas so that I would not accidentally cover them:</div>
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<a href="http://1.bp.blogspot.com/-tW8g3JJ5yGA/U4xKe3pSsGI/AAAAAAAABtE/gkt-by-1iqs/s1600/IMG_4817.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-tW8g3JJ5yGA/U4xKe3pSsGI/AAAAAAAABtE/gkt-by-1iqs/s1600/IMG_4817.jpg" height="280" width="400" /></a></div>
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<b>Step 4.</b> Now I <u>applied a background wash</u> that would represent the shaded parts of the flowers. White flowers are fun to paint because you can infuse the white shadows with subtle color. Their general color needs to be shades of gray, though, and here I have mixed three primary colors to create various shades of gray: hansa yellow, cobalt blue, and quindacridone red. This may seem crazy, but I decided to impose a certain style on this painting in which every single part of the painting will have the salt effect! Hence I sprinkled plain table salt all over the wet paint and let it dry naturally for a while.</div>
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<a href="http://1.bp.blogspot.com/-iZd8NJlBMCQ/U4xKfoPc3JI/AAAAAAAABtU/SJ5e5rKkaxA/s1600/IMG_4818.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-iZd8NJlBMCQ/U4xKfoPc3JI/AAAAAAAABtU/SJ5e5rKkaxA/s1600/IMG_4818.jpg" height="283" width="400" /></a></div>
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<b>Step 5.</b> <u>Negative painting around the white flowers</u> brought them out. I have eliminated the green spider mum, but am using primarily greens and blues in the painting, and keeping a cool color dominance. There are hints of orange added for contrast. Also, notice that the background wash is gradating from light in the upper left to dark in the lower right. I salted the background wash to keep the style consistent. </div>
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<a href="http://2.bp.blogspot.com/-Yfzo-byEhBk/U4xL6mFjNdI/AAAAAAAABtk/b03KDUDDBjk/s1600/IMG_4819.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Yfzo-byEhBk/U4xL6mFjNdI/AAAAAAAABtk/b03KDUDDBjk/s1600/IMG_4819.jpg" height="281" width="400" /></a></div>
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<b>Step 6.</b> Here is the painting pretty much finished. Sorry, I didn't take many step-by-step photos of this one! After taking off the masking fluid, I decided to do more shadows on some of the petals. Also the petals in the lower right were too dark, so I tried scrubbing them out a bit, but the paint was not lifting very well. So I used a little titanium white on those and several others. If you are going to use opaques in one area of a painting, you really need to use them elsewhere too, or they will stick out light a sore thumb! Also, darkening the background behind these petals made them appear brighter. It's all about the contrast and value changes!</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-TnziQfS5gNU/U4xLawHL_NI/AAAAAAAABtc/he2LkvDGy38/s1600/IMG_4822--for+9x12+giclee.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-TnziQfS5gNU/U4xLawHL_NI/AAAAAAAABtc/he2LkvDGy38/s1600/IMG_4822--for+9x12+giclee.jpg" height="303" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Shasta Daisy Daydream" watercolor 9x13"</td></tr>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-52828332536892721802014-05-29T09:26:00.002-04:002014-05-29T10:05:59.651-04:00Watercolor Demo Class: "Blu' Island Blur"<div dir="ltr" style="text-align: left;" trbidi="on">
Hello again, friends. We just had a class on painting that time-honored watercolor subject, Flowers! How can you teach just one class on flower painting?? You can barely scratch the surface. I've always had a love/hate relationship with watercolor flower painting, and feel like picking off the petals one at a time, saying "I love you, I love you not"! For me, flower painting has always been a lot harder than it looks. Part of the problem is that flowers can be so incredibly beautiful in person, and it is almost impossible to adequately capture that glowing, ephemeral beauty.<br />
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The appeal of painting flowers is largely about the color, though, and I decided to use this opportunity to go crazy with color. I have been experimenting with using Photoshop to adapt my reference photos into a less detailed, blurrier image, that focuses our attention on the big shapes and colors.<br />
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Here is the photo I started with. I took it at an adorable little cafe in Venice, Florida, called the "Blu' Island Bistro" where we had breakfast. This unusual table is made from two large slabs of rough-hewn wood with a big piece of glass on top. They had the nicest little flower arrangements at each table, and I photographed many of them. The morning light was gorgeous. <br />
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<a href="http://1.bp.blogspot.com/-U2-P_JPs680/U4cmgfE0aCI/AAAAAAAABp0/RGCVIx6PKGQ/s1600/IMG_2639.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-U2-P_JPs680/U4cmgfE0aCI/AAAAAAAABp0/RGCVIx6PKGQ/s1600/IMG_2639.jpg" height="400" width="300" /></a></div>
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I cropped out this bouquet for my painting.<br />
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<a href="http://1.bp.blogspot.com/-Cy5COV2-K5w/U4cmhEEnFzI/AAAAAAAABp4/sO_UPJugvcA/s1600/IMG_2639a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Cy5COV2-K5w/U4cmhEEnFzI/AAAAAAAABp4/sO_UPJugvcA/s1600/IMG_2639a.jpg" height="300" width="320" /></a></div>
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Next I reduced the pixel size of the image to 500 pixels across, and I applied one of the Photoshop "filters" to it, namely the "paint daub" filter:<br />
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<a href="http://2.bp.blogspot.com/-sJuIBOrwdnw/U4cnsAwXzDI/AAAAAAAABqA/Lho85Xj1cgI/s1600/IMG_2639a--paint+daubs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-sJuIBOrwdnw/U4cnsAwXzDI/AAAAAAAABqA/Lho85Xj1cgI/s1600/IMG_2639a--paint+daubs.jpg" height="300" width="320" /></a></div>
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I like the way this blurred out the image and got rid of the tiny details. Yes, the original photo could have been used to create a beautiful painting, but my goal here was to do something more semi-abstract. I am not going to address right now the controversial aspects of using a computer to aid me in abstracting my image. If you have qualms about it, I suggest you try to paint from one of these photos before you conclude that we are making the process too easy. Believe me, it is still quite difficult to get a good painting out of this!<br />
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I also used the computer and my medium format printer to create a template that I could trace to get the image onto my watercolor paper. Another controversial practice, but one I feel justified in using since I know I can draw perfectly well, and wanted to save time. Here is the template attached to the paper, which is a half sheet of Arches 140 lb cold-press:<br />
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<a href="http://2.bp.blogspot.com/-43qShsv8yHA/U4cpXcetnFI/AAAAAAAABqI/ZrimLMpkc1A/s1600/IMG_4792.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-43qShsv8yHA/U4cpXcetnFI/AAAAAAAABqI/ZrimLMpkc1A/s1600/IMG_4792.jpg" height="640" width="425" /></a></div>
And here is the image transfer that resulted after using Saral Graphite Transfer Paper (wax free) to trace the image onto the paper:<br />
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<a href="http://1.bp.blogspot.com/-0VH3di8GR00/U4cpYEha2QI/AAAAAAAABqc/3Oj5DX8sFJk/s1600/IMG_4794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-0VH3di8GR00/U4cpYEha2QI/AAAAAAAABqc/3Oj5DX8sFJk/s1600/IMG_4794.jpg" height="640" width="426" /> </a></div>
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Step 1. <u>Applying masking fluid</u>. I masked out only the absolute white areas so that I wouldn't accidentally loose them. Let me give you a big tip on using masking fluid so that it goes on smoothly and doesn't clog up your brush. A few years ago, my husband (who is a chemist) and I created a masking fluid solvent and flow extender that we call "<a href="http://www.amazon.com/Masking-Extender-Watercolor-Painting-Solution/dp/B00K3MYLHI/ref=sr_1_1?ie=UTF8&qid=1401370213&sr=8-1&keywords=masking+fluid+flow+extender" target="_blank">Sue's Solution</a>". It contains a chemical that masking fluid can dissolve in and it will not hurt your brushes. We actually sell it on Amazon.com! You pour a little out in a bowl and dip your brush in it before dipping into the masking fluid. You rinse your brush in it every 3-5 minutes while painting with masking fluid. It will completely prevent your brush from getting gobbed up with the masking fluid! You can also unclog applicators such as Masquepens and brushes with dried masking fluid on them. We have tested sable brushes in Sue's Solution for up to six hours, and no damage or change at all occurred in the brushes.</div>
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Step 2. <u>Start with the light, bright colors</u>. I started with the bright yellows, using Hansa yellow by Da Vinci (also carried as Winsor yellow by W & N, generic name arylide yellow). I covered areas under the oranges and greens too, since they can use yellow. Nothing makes a painting glow like yellow!</div>
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<a href="http://1.bp.blogspot.com/-D93MPspBCAE/U4cpZJP2TQI/AAAAAAAABqk/WIv3R856KRo/s1600/IMG_4798.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-D93MPspBCAE/U4cpZJP2TQI/AAAAAAAABqk/WIv3R856KRo/s1600/IMG_4798.jpg" height="640" width="402" /></a></div>
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Step 3. Next I <u>added some of the red areas</u>, using quinacridone red, and some Winsor red. Quin red and Hansa yellow make a beautiful orange! I am going to have a full range of values, so I added some darks very early in the process so that I would have a means of comparing values.</div>
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<a href="http://1.bp.blogspot.com/-nt31wLEYYRY/U4cpao-SggI/AAAAAAAABq0/csWFtjhCJyE/s1600/IMG_4800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-nt31wLEYYRY/U4cpao-SggI/AAAAAAAABq0/csWFtjhCJyE/s1600/IMG_4800.jpg" height="640" width="416" /></a></div>
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Step 4. Keeping my colors pure and clean, I <u>started adding the blues and greens</u>. Generally I am using transparent, non-granulating colors in this painting to preserve the transparency. Flower paintings generally benefit from using clean transparent colors, rather than semi-opaque colors which can sometimes produce a muddy look. I actually have a separate palette for flower painting that avoids the semi-opaque watercolors and contains more staining transparents than I would normally use. Here I am mixing greens with Hansa yellow and peacock blue (Holbein's thalo blue), and using a little perylene green for the darkest greens (later). The purple is permanet violet by W & N and I have used a little opera rose in the pinks and oranges to make them brighter.</div>
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<a href="http://1.bp.blogspot.com/-grevqGPyiL0/U4cpcNZsLVI/AAAAAAAABrE/-Lw2I84vGpw/s1600/IMG_4802.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-grevqGPyiL0/U4cpcNZsLVI/AAAAAAAABrE/-Lw2I84vGpw/s1600/IMG_4802.jpg" height="640" width="414" /></a></div>
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Step 5. <u>Working on the darks</u>. I really like the division of space in the background area on the left in the photo, and am planning to use it as is. There is a peculiar white streak coming down from the pink flower on the left, though, and although I kind of like it I will probably have to kill it... Also, at this point I am still laying down base colors and will have to adjust all the values later. For blacks I am mixing permanent magenta and thalo green, and getting a beautiful dark that varies from warm to cool.</div>
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<a href="http://4.bp.blogspot.com/-VHAipFFIDrA/U4cpdA03m2I/AAAAAAAABrM/S9UYm-HgsBQ/s1600/IMG_4803.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-VHAipFFIDrA/U4cpdA03m2I/AAAAAAAABrM/S9UYm-HgsBQ/s1600/IMG_4803.jpg" height="640" width="410" /></a></div>
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Step 6. <u>Glazed over the background</u>. I knew my brown spots at left above were too light, so I mixed up a big wash of purplish black and glazed over the left background. Also I filled in the large white shape on the left and am debating what to do about the composition. At this point my demonstration class had gone home and I had more time to think about it.</div>
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<a href="http://1.bp.blogspot.com/-AOgCpWW826A/U4cpe_HCymI/AAAAAAAABrc/MrhYyBDutNA/s1600/IMG_4805.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-AOgCpWW826A/U4cpe_HCymI/AAAAAAAABrc/MrhYyBDutNA/s1600/IMG_4805.jpg" height="640" width="398" /></a></div>
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Step 7. <u>Major decision about the background</u>. I decided to change the division of space in the lower left and make it more horizontal. All the weird vertical shapes seem to be hurting the composition. So I applied drafting tape around the edges and removed a lot of paint using Mr. Clean Magic Eraser.</div>
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Step 8. A this point I am <u>working all over the painting</u>. I've made an almost black section behind the flowers, and I really like this as it adds a point of sharp contrast and also a resting place. Also I've been working more in the vase, trying to convey the feeling of the glass pebbles without actually painting them. I am diverging quite a bit from the photo at this point, and will not refer to it much from here on. The main thing is to make a good painting, not make a copy of the photo! Also as you can see below, I've added a continuation of the shaft of light to the right of the flowers. I like the way this moves your eye across the picture with the flowers in between.</div>
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<a href="http://4.bp.blogspot.com/-uNn5XXmVTmI/U4cpiOtd3pI/AAAAAAAABr8/BZTgfZsu3m8/s1600/IMG_4809.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-uNn5XXmVTmI/U4cpiOtd3pI/AAAAAAAABr8/BZTgfZsu3m8/s1600/IMG_4809.jpg" height="640" width="404" /></a></div>
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Step 9. <u>Add signature</u>! I am not sure if it is really done yet, but I signed it so that I would not forget! I may do something with the odd shapes in the upper right, perhaps extend the black over into that area a little. Also I will tweak the values a little and think about the whole thing for a few days before I really call it done. It was a lot of fun to paint this picture and I am pretty happy with it! Let me know if you have any questions or comments, especially my students who attended this class.</div>
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Susan Avis Murphy, ARThouse, May 29, 2014</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com0tag:blogger.com,1999:blog-6861959177651689402.post-73835460114426359842014-05-06T08:41:00.001-04:002014-05-06T08:41:26.518-04:00Watercolor Demo Class: Landscape "Down on the Farm"<div dir="ltr" style="text-align: left;" trbidi="on">
Another of my Watercolor Demonstration Classes saw the painting of this landscape, and I have made a <a href="https://www.youtube.com/watch?v=jRdtf1497l4" target="_blank">YouTube video of it that you can watch</a>. I chose the reference photo below because it contained so many typical landscape components and would be a good teaching tool. I took this photo about 35 years ago, and it is probably from upstate New York.<br />
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<a href="http://3.bp.blogspot.com/-VIkBiv2kgrs/U2jOeGjHFSI/AAAAAAAABoA/ziZD_p1iQF4/s1600/tree+scans0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-VIkBiv2kgrs/U2jOeGjHFSI/AAAAAAAABoA/ziZD_p1iQF4/s1600/tree+scans0001.jpg" height="275" width="400" /></a></div>
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Step 1. Working on a half sheet of Arches 140 lb cold press stretched onto a Homasote board, I first wet the entire sheet and started with a light wash of the late afternoon sky. The sky is almost always the lightest section of a landscape, and it is important to keep the correct values of the sky versus the land relative to each other. I used Hansa yellow in this background wash, letting it come all the way down to the bottom of the sheet so that it would also color the grass a bit. Quinacridone red was washed over the top of the sky.<br />
While that was wet, I started to put in the distant row of trees, using thick perylene green, plus touches of brown madder and verditer blue. Not too much water or the paint will spread too much! You can see the gap I left for the barn.<br />
I also washed in the grasses with a mixture of Hansa yellow and cerulean blue. I used a little black sumi-e ink in the mix because I think it is capable of producing some interested textural effects. I splattered this darker wash with water to create backruns and spattered it with some blues. I decided to leave the lower left unpainted to accentuate my intention of creating a loose painting.<br />
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Step 2. Since I was filming the whole process with a web cam, I didn't stop to take enough step-by-step photos! The next photo shows the painting about 80% finished. First I started putting in the trees, using black ink mixed with burnt sienna and a rigger to apply the paint. I experimented with various ways to get the suggestion of the leaves remaining on the trees. A combination of spritzing with a spray bottle and then spreading paint around with a brush worked the best, along with a little spattering. <br />
I detailed the brush along the foot of the trees with some darker paint, using my wolf hair sumi-e brush with the hairs splayed out to create the feeling of long grass and brush. Also I used this brush in the foreground grasses.<br />
Next I painted in the barn and windmill (still need to add the windmill's blades). I kept them simple and not fussed over. Some long shadows in front of the barn give the feeling of late afternoon. To finish this painting, I am thinking of adding some cows scattered about between the windmill and the barn. That's about it for this one! <br />
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<tr><td class="tr-caption" style="text-align: center;">"Down on the Farm" almost finished</td></tr>
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By the way, I took a workshop recently with Baltimore artist Stewart White, who is a fantastic plein air painter in watercolor. He has a little acronym that I tried to apply in painting these landscapes:<br />
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D O N ' T:<br />
D = Don't Dilute too much<br />
O = Don't Overwork<br />
N = Don't Noodle<br />
T = Don't try to fix!<br />
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I think this is very useful advice if you want a painting that is fresh and spontaneous. Yes, you can fix a few things along the way, but don't overdo it! Have fun with your landscape painting--<br />
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Susan Murphy, ARThouse, 5/6/14<br />
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-34420296327432870602014-05-06T07:55:00.001-04:002014-05-06T07:55:18.822-04:00Watercolor Demo Class: Landscape "Batchellor's Forest"<div dir="ltr" style="text-align: left;" trbidi="on">
For one of the groups that meets in my Watercolor Demonstration Class, I painted a landscape from right next to my house. We have a country road that runs along our property called Batchellor's Forest Road, and it is the route taken by school buses to the local middle school. I love to walk along this road and take in the Maryland countryside and some of the beautiful oak trees. Here is the reference photo, from a misty fall morning:<br />
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<a href="http://2.bp.blogspot.com/-fJ90o_rpfT8/U2jIv4qPXAI/AAAAAAAABnw/pK_rGuDRtBE/s1600/scan+of+trees0002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-fJ90o_rpfT8/U2jIv4qPXAI/AAAAAAAABnw/pK_rGuDRtBE/s1600/scan+of+trees0002.jpg" height="400" width="282" /></a></div>
Again, I made some decisions before starting:<br />
<ul style="text-align: left;">
<li>that the painting would be loose and not an exact representation of the photo</li>
<li>that I would try to capture the misty feeling and light at the end of the road</li>
<li>that I would eliminate the very straight tree trunk on the right (it looks like a telephone pole!) </li>
<li>that I would add a school bus down the street coming toward us, with its stop sign out and some children waiting to board </li>
<li>that I would film the painting process with my webcam </li>
</ul>
Step 1. Working on a half sheet of Arches 140 lb cold press stretched on a Homasote board, I started on dry paper by suggesting some of the light background colors that exist behind the big tree. I splattered water on the wet paint to encourage backruns and textures to form, and I spattered with some cerulean blue.<br />
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<a href="http://1.bp.blogspot.com/-rLuMW4tK9jc/U2i-AvSCkAI/AAAAAAAABmU/Gd9aa9KpuyM/s1600/IMG_4464.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-rLuMW4tK9jc/U2i-AvSCkAI/AAAAAAAABmU/Gd9aa9KpuyM/s1600/IMG_4464.jpg" height="400" width="252" /></a></div>
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Step 2. After it was dry, I decided to re-wet and add more mist up in the trees in the form of ultramarine violet--I wanted the feeling of light at the end of the street to be stronger by virtue of the contrast. I also did more spattering while this was wet.<br />
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Step 3. Working from light to dark in this picture, I added an evergreen tree that will be behind the big oak tree. I tried to make the leaves interesting. Also I began to add some of the tree branches and trunks on the right. The way to capture the feeling of mist is to make the objects progressively darker as they come closer to you. Things in the foreground, such as the large oak tree will be the darkest.<br />
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Step 4. I continued painting lighter trees in the background. When they were dry I started to paint the large oak. Each type of tree has its own unique skeleton, and oaks are always very contorted. Many of the other trees here are beech trees, and they have elegant, straighter limbs that bow gently in the wind. I hope I am capturing the feeling of mist here, but probably need to accentuate it more. This painting is not finished yet and this is as far as I have gotten so far. Sorry!<br />
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To finish: I plan to add a small trunk and limbs to the red tree on the right. Also I will add that school bus near the middle telephone pole. I will purposely put it farther down the street and make it not too bright, to add to the feeling of morning mist. When you add figures or objects to a landscape that are not already there, you need to be very careful to size them correctly for their position in the perspective of the scene. I hope to add a picture of the finished painting to this article as soon as possible!<br />
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Susan Murphy, ARThouse, 5/6/14</div>
Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-21239862017726361072014-05-06T07:30:00.000-04:002014-05-06T07:30:13.475-04:00Watercolor Demo Class: Landscape "Ambleside Walk"<div dir="ltr" style="text-align: left;" trbidi="on">
Our second class in my three-part demonstration series was on painting the landscape in watercolor. What a challenging subject! I purposely kept the term "landscape" very broad, because it <u>is</u> broad, and encompasses so many possibilities! For the purposes of teaching, I chose reference photos that represented landscape as we usually think of it: distant vistas, atmospheric perspective, sky, trees, perhaps some man-made structures, and perhaps some hills. Below is the first reference photo I chose to paint:<br />
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This is a scene from Cumbria, England, near the quaint town of Ambleside. Below is a close-up of the stone wall. Sheep and mountain goats were present in other photos, as well as hikers. Lots of great material to work from! Always take more photos than you think you will need, because they might contain additional useful elements. <br />
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<a href="http://2.bp.blogspot.com/-vaf8eDsWBQo/U2i4ywfvdkI/AAAAAAAABl4/rt-TPDrTU9E/s1600/DSC01977close-up+of+wall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-vaf8eDsWBQo/U2i4ywfvdkI/AAAAAAAABl4/rt-TPDrTU9E/s1600/DSC01977close-up+of+wall.jpg" height="203" width="400" /></a></div>
I made some decisions before starting:<br />
<ul style="text-align: left;">
<li>that the painting would be very loose and not a direct copy of the photo</li>
<li>that I would use a lot of watercolor textures</li>
<li>that I would use sumi-e ink to darken some of the colors as an experiment</li>
<li>I would film the demonstration with a web cam attached to the ceiling above the painting (see resulting film on the <a href="https://www.youtube.com/watch?v=XT2Yk3UlR5I" target="_blank">Susan Murphy Channel onYouTube</a>!)</li>
</ul>
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Step 1. I started with a wet-in-wet background wash and covered a lot of territory with this! The paper was 140 lb Arches cold press stretched onto a Homasote board. I did a minimum of drawing just to establish the line of hills and the stone wall. Then I wet the entire sheet and started with the sky, using cerulean blue plus sumi-e ink and permanent violet for the cloud colors. For the land I used perylene green, cobalt blue, quinacridone gold, and brown madder. I spattered the wet surface with verditer blue and permanent magenta, plus salted it and then let it dry. OK, I threw everything in the book at it!<br />
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Step 2. Since I was filming the process, I did not take many step-by-step photos. This next picture shows a lot of steps in one:<br />
<ul style="text-align: left;">
<li>The distant trees: I re-wet the distant hills and used thick perylene green to suggest the distant trees and shrubs.</li>
<li>The foreground grasses: I began to negatively paint around the stone wall with darker colors including brown madder and perylene green mixed with a little black sumi-e ink. I used a large wolf-hair sumi-e brush to suggest the grasses because the hairs can be splayed out to make an irregular row of sharp points. Also I softened the overly-strong texture from the salt a little.</li>
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Step 3. This last picture is as far as I have gotten at this point:<br />
<ul style="text-align: left;">
<li>Re-wetted the distant ground again and inserted more dark trees.</li>
<li>Defined the top edge of the stone wall by painting the rising hill behind it a reddish color. Also painted some of the shadows of the stone wall.</li>
<li>Used sumi-e ink mixed with a little permanet violet to paint the cloud shadows right over the distant land. Perhaps the one of the right is too dark, but the one of the left works nicely.</li>
<li>Last but not least, I used drafting tape and a stencil brush to lift out the sun beams!</li>
</ul>
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<tr><td class="tr-caption" style="text-align: center;">"Ambleside Walk" almost there!</td></tr>
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The painting is about 80% finished at this point. I am planning to refine some of the shapes and edges, add a little English village in the valley to the left, and add some hikers crossing over the stone wall and walking down into the valley. But for now I wanted to get this posting out for my students.<br />
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Susan Murphy, ARThouse, 5/6/14</div>
Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-74625363708662092692014-03-07T17:35:00.001-05:002014-03-07T17:41:33.176-05:00Watercolor Demonstration Class: Still Life with Pears and Strawberries -- Part 3<div dir="ltr" style="text-align: left;" trbidi="on">
OK, I am back again. The painting is almost finished, for better or for worse! I have made a lot of changes. Here is where I had left off last time:<br />
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<b>Step 10</b>. I have decided to completely change the background. The "flannel" gray is just too distracting, and I think the pitch black of the reference photo is more effective. I experimented with my painting on the computer using Photoshop to make the background black (see below). Also I decided to get rid of the upturned dish towel in the back and make the whole table look round instead. To accomplish this in Photoshop, I selected the dark background using the magnetic lasso tool, and then I went to Image > Adjustments > Levels > I turned up the darkness of the selected layer. It is interesting how making the background black really brought the objects to life!</div>
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<a href="http://1.bp.blogspot.com/-MK5mnY6Yhoo/UxpBuPLaBvI/AAAAAAAABgg/zLmVJcoaPLM/s1600/IMG_4369--black--curved+table.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-MK5mnY6Yhoo/UxpBuPLaBvI/AAAAAAAABgg/zLmVJcoaPLM/s1600/IMG_4369--black--curved+table.jpg" height="308" width="400" /></a></div>
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<i>background artificially blackened with Photoshop</i></div>
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<b>Step 11</b>. Now in order to change the background and lower it about 2", I first had to soften the edge of the dish towel in the back and try to get rid of the stripes. I was afraid the edge and the stripes might show through in my new wash. I surrounded the objects with drafting tape (as you can see below between the pear and the pitcher) and I used Mr. Clean Magic Eraser to scrub out the paint. This left a hard edge next to the objects and a soft edge going up into the wash. You can see a little piece of the magic eraser at the bottom. You just wet them and scrub. I dried the picture thoroughly.</div>
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<img border="0" src="http://4.bp.blogspot.com/-nLdViG2R81o/UxpBuU6PUqI/AAAAAAAABgc/T6ByQZgPWeU/s1600/IMG_4371.jpg" height="347" width="400" /><i> </i></div>
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<i>background scrubbed out and softened</i></div>
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<b>Step 12</b>. Now I felt that I had to re-paint the lightened background with the same color I had used before, so that when the final very dark wash was put on, it would be uniform everywhere. Oh, before doing this, I scrubbed out some leaves on the white bouquet, using drafting tape to form the shapes.</div>
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<a href="http://1.bp.blogspot.com/-cPnEMhH2uVs/UxpBuFJO6AI/AAAAAAAABgY/UP_eK7F6e9o/s1600/IMG_4372.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-cPnEMhH2uVs/UxpBuFJO6AI/AAAAAAAABgY/UP_eK7F6e9o/s1600/IMG_4372.jpg" height="306" width="400" /></a></div>
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<i>original wash mixture re-applied</i></div>
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<b>Step 13</b>. Hopefully this won't be the unlucky step! For my new wash I mixed up a very dark pool of perylene maroon and perylene green (two colors by Winsor & Newton that are very dark and clear) because they are complementary colors and form beautiful grays and blacks. I turned the board upside-down and propped it up about 2" so the wash could run downhill, and proceded to do a big juicy wash using a #12-14 brush. There was no masking fluid on this time, so I had to paint carefully around the flowers. I think the picture looks better already!</div>
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<a href="http://4.bp.blogspot.com/-XGmjD9MTlrQ/UxpBvk6IdkI/AAAAAAAABgo/VdtMqZ5o2Uo/s1600/IMG_4373.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-XGmjD9MTlrQ/UxpBvk6IdkI/AAAAAAAABgo/VdtMqZ5o2Uo/s1600/IMG_4373.jpg" height="307" width="400" /></a></div>
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<i>new black wash applied</i></div>
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<b>Step 14</b>. Now I began to finish painting the white flowers and their vase. The peony-like flower was very confusing and I had to study the photo carefully. I got lost anyway, but it doesn't really matter. I used a combination of bluish purples for the shadow shapes, blending to yellowish green as they went deep into the flower.</div>
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<a href="http://1.bp.blogspot.com/-b_Yr7UdO_6M/UxpBwhR9dCI/AAAAAAAABg4/FzCPBK77QU0/s1600/IMG_4374.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-b_Yr7UdO_6M/UxpBwhR9dCI/AAAAAAAABg4/FzCPBK77QU0/s1600/IMG_4374.jpg" height="307" width="400" /></a></div>
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<i>working mainly on the white flowers</i></div>
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<b>Step 15</b>. I continued working on the white flowers and the interesting shapes inside their vase. I added a slight curvature to the right side of the table. The pink carnation hasn't been worked on again yet, but I don't think it needs much. The painting needs some further refinements, but this is it for now. I need to take a break!</div>
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<a href="http://2.bp.blogspot.com/-FSeIM8oWGFU/UxpBwkh06UI/AAAAAAAABg0/fLA0mAj_3PE/s1600/IMG_4375.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-FSeIM8oWGFU/UxpBwkh06UI/AAAAAAAABg0/fLA0mAj_3PE/s1600/IMG_4375.jpg" height="308" width="400" /></a></div>
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<i>"Pears and Strawberries" almost finished</i></div>
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In conclusion, this really did turn out to be harder to paint than I thought it would be. I am not crazy about the composition because of the amount of black background. Perhaps the pink carnation could be cropped out. Below is how it would look. What do <u>you</u> think??<br />
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<a href="http://4.bp.blogspot.com/-0Oh_zmPjr_I/UxpHmV7mpNI/AAAAAAAABhE/1hXGKsimVNU/s1600/IMG_4375--cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-0Oh_zmPjr_I/UxpHmV7mpNI/AAAAAAAABhE/1hXGKsimVNU/s1600/IMG_4375--cropped.jpg" height="232" width="400" /></a></div>
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Susan Murphy, ARThouse, March 7, 2014</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com5tag:blogger.com,1999:blog-6861959177651689402.post-58388317534343645712014-03-06T10:28:00.001-05:002014-03-06T10:28:44.940-05:00Watercolor Demonstration Class: Still Life with Pears and Strawberries -- Part 2<div dir="ltr" style="text-align: left;" trbidi="on">
In Part 2 of this article I will describe how I did the painting that goes along with the reference photo below. As usual it turned out to be harder than I thought, and I wasn't able to finish it in the three classes that we had, so Part 3 with show the finished steps that I did on my own.<br />
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<a href="http://1.bp.blogspot.com/-Chu2257RVQM/UxhY2GUNvhI/AAAAAAAABdA/V6KBVFiNtqM/s1600/IMG_7723.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-Chu2257RVQM/UxhY2GUNvhI/AAAAAAAABdA/V6KBVFiNtqM/s1600/IMG_7723.jpg" height="300" width="400" /></a></div>
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<i>reference photo</i></div>
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<b>Step 1</b>. First I <u>created a paper template</u> of my reference photo by printing it out on cheap paper with a medium format (17" wide) printer. I am lucky to have the ability to do this. To do it on a smaller desktop printer, you could crop the image into four letter-size pieces, print them out, and tape them together. My watercolor paper is a 16x20" sheet of Archers 140 lb cold press that has been stretched and stapled onto a Gatorboard. Strips of 1" 3M drafting tape were put around the edges of the paper so that the resulting painting would have a nice, clean border. The template was laid on top with several sheets of gray graphite transfer paper (wax-free Saral brand) underneath. All the contour lines were traced with a ball point pen to transfer the image onto the paper. By the way, you see here the Kodak Color Bars I laid on top when I photographed this image, so that the white balance could be corrected later on the computer.</div>
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<a href="http://4.bp.blogspot.com/-OEj22s37buk/Uxh-GWqBakI/AAAAAAAABfQ/rZU7c9fVGFM/s1600/IMG_4359.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-OEj22s37buk/Uxh-GWqBakI/AAAAAAAABfQ/rZU7c9fVGFM/s1600/IMG_4359.jpg" height="292" width="400" /></a></div>
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<i><span style="color: black;">template created on medium-format printer</span></i></div>
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<b>Step 2.</b> Here is how the drawing looks on the watercolor paper after the tracing. The graphite can be erased a little with a kneaded eraser if you feel it is too dark.</div>
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<a href="http://3.bp.blogspot.com/-SjYaoJYf2ow/UxhjMPAKisI/AAAAAAAABeE/CzAmY-et99M/s1600/IMG_4360.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-SjYaoJYf2ow/UxhjMPAKisI/AAAAAAAABeE/CzAmY-et99M/s1600/IMG_4360.jpg" height="303" width="400" /></a></div>
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<i>the drawing transferred onto the watercolor paper </i></div>
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<b>Step 3.</b> Since I was planning to do a dark background, I decided to <u>mask out</u> the pink carnation and some of the little white flowers. I used a Masquepen, which is a little squeeze bottle with a pointed applicator. Next I decided about the colors I would use. I wanted to keep a soft, granulated look in the painting, so I chose to mix all the greens using mainly Hansa yellow (an arylide yellow) and either cerulean blue or ultramarine blue. Here I have painted the pear and the shadows. The dark corner on the pear was done by mixing more ultramarine blue into the wet paint. A little brown madder (a red color) was dropped into the pear for color variation. <br />
I decided to <u>paint the shadows on the dish towel</u> before doing the stripes, because most of the colors I use are very "liftable" (i.e. they are not staining colors) and I was afraid the stripes might lift off if I painted the shadows later. The shadow color is a mixture of ultramarine blue and brown madder.<br />
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<a href="http://1.bp.blogspot.com/-1Cj1zjgbqaY/UxhjML-gd6I/AAAAAAAABeA/hn_yhIHkfKw/s1600/IMG_4361.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-1Cj1zjgbqaY/UxhjML-gd6I/AAAAAAAABeA/hn_yhIHkfKw/s1600/IMG_4361.jpg" height="307" width="400" /></a></div>
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<i>masking fluid applied, plus pear and some shadows painted</i></div>
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<b>Step 4.</b> I decided to start <u>painting the background</u><b> </b>early in the game in order to get an idea of how dark all the values would need to be. I debated about two possible solutions for the background: 1) doing a very dark, smooth wash that would look almost black, as in the photo, or 2) doing a softer "flannel gray" background that would have a granulating texture. I went for the latter because I thought the black might be two strong. For this wash I mixed about a 1/4 cup of three primary colors in a separate container: Hansa yellow, ultramarine blue, and brown madder. It came out a little bluer than I intended. To apply the wash, I turned the board upside down and propped it up about two inches, and started applying the paint with a big brush along the "action line" (where the subject meets the background). Working along sort of horizontally, I let the paint move down the sheet with a bead of wet paint always on the leading edge. It is important to have the board slanted and leave it that way in order to avoid getting backruns. Despite this, the wash was a little more variegated than I wanted, but I decided to let it dry as is instead of fiddling with it.<br />
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<a href="http://2.bp.blogspot.com/-PZ5Na8OaLH8/UxhjM3bfd4I/AAAAAAAABeU/ZGCYDvvqkGQ/s1600/IMG_4363.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-PZ5Na8OaLH8/UxhjM3bfd4I/AAAAAAAABeU/ZGCYDvvqkGQ/s1600/IMG_4363.jpg" height="305" width="400" /></a></div>
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<i>background wash applied</i></div>
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<b>Step 5.</b> This painting was done over the course of three different class groups in two days. In order for each group to see similar parts of the process, I worked a little on this and a little on that... So here I am showing how I would start the stripes on the cloth. For the sake of unity, I am using the same pigments wherever possible. So the green stripes were mixed with Hansa yellow and ultramarine blue and the red stripes are primarily red madder. The most narrow green stripes were applied with a liner (also called a "rigger" because this long, narrow brush can be used to paint rigging of nautical paintings). By the way, the yellows you see on the white flower and its vase are yellow paint that I put in as a base color (it is not masking fluid). <br />
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<a href="http://1.bp.blogspot.com/-LFUaBZme_FA/UxhjNoblncI/AAAAAAAABec/bcNWjdcjNDM/s1600/IMG_4364.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-LFUaBZme_FA/UxhjNoblncI/AAAAAAAABec/bcNWjdcjNDM/s1600/IMG_4364.jpg" height="305" width="400" /></a></div>
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<i>starting the stripes</i></div>
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<b>Part 6.</b> Here I have done more stripes, two of the strawberries, and the base color on the knife. One thing I like about this set-up is the way the stripes appear inside the two glass vases. To give the <u>illusion of clear glass</u>, you need to paint what is behind it and under it! Just paint exactly what you see, simplifying it a little since all the reflected and refracted shapes can be very complex! Here the vase on the right had water in it, and was acting like a very strong lens, really distorting the stripes behind it.</div>
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<u>For the strawberries</u> I started with a base color of brown madder and added a touch of ultramarine blue for the dark shadow. BTW, the tiny seeds had been masked out. The stripes on this towel are fun because they accentuate all the folds, which is all the nicer and makes the painting more interesting.</div>
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<a href="http://3.bp.blogspot.com/-KjDkAGQrLek/UxhjN6GiUtI/AAAAAAAABeg/_Tph7n6BA7k/s1600/IMG_4365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-KjDkAGQrLek/UxhjN6GiUtI/AAAAAAAABeg/_Tph7n6BA7k/s1600/IMG_4365.jpg" height="307" width="400" /></a></div>
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<i>starting the strawberries; more stripes</i></div>
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<b>Step 7</b>. <u>Painting the white cream pitcher</u> was fun because of the opportunity to show reflected light in the shadow side. If you look closely at the reference photo, you can see a touch of green coming from the pear in the shadow side of the pitcher. This is the advantage of including white objects because these reflected colors will really bring them to life!</div>
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The quintessential <u>problem of watercolor painting is getting the paint to stay where you put it</u>. Since the pitcher had almost all soft edges, I was going to have to work wet-in-wet. So I wetted the whole pitcher with clean water and stroked in the shadow color, using the same combination as on the dish towel, namely cerulean blue and brown madder. When this was still wet, I stroked in some of the bright green from the pear.</div>
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For the <u>clear glass green vase</u>, as a first step, I just tinted the whole thing with viridian green, making it darker on the bottom. </div>
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<a href="http://2.bp.blogspot.com/-_55hQc30Xrc/UxhjOuJjJzI/AAAAAAAABes/ccyl3qoRq6A/s1600/IMG_4366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_55hQc30Xrc/UxhjOuJjJzI/AAAAAAAABes/ccyl3qoRq6A/s1600/IMG_4366.jpg" height="306" width="400" /></a></div>
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<i>painting the pitcher and green vase</i></div>
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Step 8. This photo simply shows what the painting now looks like with the masking fluid removed. I hesitated to do this because I am considering re-doing the whole background, but I decided to take my chances.<br />
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<a href="http://4.bp.blogspot.com/-dtJ5f64j8Hc/UxhjPQU0qiI/AAAAAAAABe0/zBSyhorZ7pU/s1600/IMG_4367.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-dtJ5f64j8Hc/UxhjPQU0qiI/AAAAAAAABe0/zBSyhorZ7pU/s1600/IMG_4367.jpg" height="307" width="400" /></a></div>
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<i>masking fluid has been taken off</i></div>
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Step 9. A lot has been done in this step. The <u>pink carnation</u> has been given its base coat, and some of the flower stems have been painted in with very dark tones. I started darkening some of the shadows, such as the side of the cut pear. Also some reflections were lifted out of the creamer. The <u>knife blade</u> has been painted, showing a slight reflection from the cut pear above it. I still haven't really addressed the white flowers because I need to do some more drawing in there -- they are very confusing to paint and I was getting lost! I did tint the tiny flowers green and paint the leaves on the strawberries. <br />
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<i>"Pears and Strawberries" almost finished</i></div>
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This is where I left off at the end of the last class. <u>Part 3 will show how the painting was finished</u>. As it stands now, I see some problem areas. I am not crazy about the background or the way the pink carnation sticks up into it on that spindly stem. I may add some thicker leaves around the carnation to break up the background a little. Also I may add some thicker leaves behind the white flower that will go up into the background and break up that large rectangular shape made by the left side of the background. I don't like the equilateral triangle we have to the left of the white flowers. I am wishing the table looked more round and may get rid of the way the cloth rises up a little behind the pitcher. All these changes should be possible because I have been using liftable paints.<br />
I am considering changing the whole background to a much darker color. This will be tricky for several reasons. Working a large wash around the complicated edge will be tricky. Painting on top of an existing wash is always uncertain. Since the existing wash <u>does</u> have liftable paints, they will re-dissolve and could create mud. So before I take this drastic step, I might open the painting photo is Photoshop and play around with darkening the whole background. Stay tuned!<br />
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I will work on finishing this painting today and post the remaining steps on this blog by Friday late afternoon. Wish me luck!</div>
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Sue Murphy, a warmer day in March, 2014</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-89020663555770188452014-03-06T06:45:00.000-05:002014-03-06T06:55:43.970-05:00Watercolor Demonstration Class: Still Life with Pears and Strawberries -- Part 1<div dir="ltr" style="text-align: left;" trbidi="on">
I have been away from my blog for a while and am happy to return! I just taught a class on Still Life in my studio, ARThouse, in Sandy Spring, Maryland. As part of my teaching, I usually publish an article on this blog after the demonstrations are over, so that I can further explain the process to the students. This is going to be a three-part article. The first part will focus on arranging and photographing Still Life, the second on the class demonstrations, and the third on finishing the painting in the studio.<br />
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<b>Still Life is a huge subject area for artists</b>. Here we are focusing on a modernized version of a traditional still life with objects arranged in a semi-formal fashion. I chose objects that had a universal appeal and were readily understood. Here is the reference photo I used for the demonstration, and below I will explain how I created this arrangement.<br />
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<a href="http://1.bp.blogspot.com/-1R8gK97K0FM/UxhT1Ei-38I/AAAAAAAABcA/Hp38kSPi9wo/s1600/Pears+and+Strawberries--reference+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-1R8gK97K0FM/UxhT1Ei-38I/AAAAAAAABcA/Hp38kSPi9wo/s1600/Pears+and+Strawberries--reference+photo.jpg" height="300" width="400" /></a></div>
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<b>What are the objects sitting on and where are they?</b> The whole still life is sitting on a small round end table that happens to be on wheels. This proved very useful because it could be moved around the room until I found a good lighting situation. They were in a room with a very large window so there was a lot of unavoidable light on the front of the objects. I set up a bright light off to the right to give them some side lighting. For a more dramatic effect I could have wheeled the table into a darker room, but I wanted a bright and cheerful look. The cloth is a dishtowel.<br />
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<b>Why these objects?</b> We were having a snowstorm and the only fruits in the house were pears and strawberries! But I like the archetypal appeal of these classical fruits. Since this was a class demonstration, I chose objects that would demonstrate different surfaces, such as clear glass, a shiny ceramic pitcher, some flowers, and a draped cloth with a pattern on it. Also they were chosen because they varied in height and shape. I purposely chose a simple color scheme of greens and reds so that the painting would be more unified. I felt the colors were soft and harmonious.<br />
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<b>Why this background?</b> I experimented with different backgrounds, first starting by setting the table in front of a white cloth couch. When I moved it in front of a black leather chair, the value contrasts seemed much more effective. So the black background is simply the back of a large chair! Below are some of the other photos I took of the still life:<br />
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<a href="http://1.bp.blogspot.com/-oxljuNKPmXA/UxhYzum6QrI/AAAAAAAABcU/_BIkW9JTKC4/s1600/IMG_7700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-oxljuNKPmXA/UxhYzum6QrI/AAAAAAAABcU/_BIkW9JTKC4/s1600/IMG_7700.jpg" height="300" width="400" /></a></div>
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light too bland</div>
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<a href="http://1.bp.blogspot.com/-QXnvHOyll6A/UxhY0uwYBOI/AAAAAAAABcs/yF27P6KFMq8/s1600/IMG_7704.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-QXnvHOyll6A/UxhY0uwYBOI/AAAAAAAABcs/yF27P6KFMq8/s1600/IMG_7704.jpg" height="400" width="298" /></a></div>
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no small objects</div>
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<a href="http://4.bp.blogspot.com/-ShzeKKm21Vo/UxhY0dqt9sI/AAAAAAAABck/FrRLct0jLKA/s1600/IMG_7705.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-ShzeKKm21Vo/UxhY0dqt9sI/AAAAAAAABck/FrRLct0jLKA/s1600/IMG_7705.jpg" height="300" width="400" /></a></div>
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better, but light still too bland with no strong shadows</div>
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<a href="http://3.bp.blogspot.com/-GANC-z6ToVY/UxhY1G9SaLI/AAAAAAAABcw/sg_kE9hGP-I/s1600/IMG_7716.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-GANC-z6ToVY/UxhY1G9SaLI/AAAAAAAABcw/sg_kE9hGP-I/s1600/IMG_7716.jpg" height="300" width="400" /></a> </div>
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placed a black blanket over the couch; light still too bland</div>
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<a href="http://2.bp.blogspot.com/-gi8f-ShKpdU/UxhY19FTz5I/AAAAAAAABc8/YzMTLJZ62hY/s1600/IMG_7721.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-gi8f-ShKpdU/UxhY19FTz5I/AAAAAAAABc8/YzMTLJZ62hY/s1600/IMG_7721.jpg" height="300" width="400" /></a></div>
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better, but pear on left too prominent</div>
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<a href="http://1.bp.blogspot.com/-Chu2257RVQM/UxhY2GUNvhI/AAAAAAAABdA/V6KBVFiNtqM/s1600/IMG_7723.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Chu2257RVQM/UxhY2GUNvhI/AAAAAAAABdA/V6KBVFiNtqM/s1600/IMG_7723.jpg" height="300" width="400" /></a></div>
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best, with stronger lighting and whole pear partially obscured </div>
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<b>Here are some tips for setting up still life:</b></div>
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<li><b>Choose objects that you like but are not too obscure</b>. Weird little possessions that might mean a lot to you don't necessarily work well in a still life. Choose objects that are different heights and volumes. Choose a papa shape, mama shape, and several baby shapes.</li>
<li><b>Find a good light source</b>, such as a window, or use a strong lamp. Photography lamps can actually mimic a strong light source such as sunlight, and you can get some excellent effects. Use side lighting to create simple shadow shapes. Be wary of too many light sources casting shadows and reflections all over the place.</li>
<li><b>Place the objects on a white or light surface</b>, so that you will have interesting cast shadows. White is excellent because the shadows can be infused with reflected light from colored objects.</li>
<li><b>Avoid strong diagonal lines</b>, such as the edge of a table. The table I used was round, which created a nice curved shape at the bottom of the picture. It is usually better to have the table edge go horizontally across rather than be at a diagonal. Also it is best if the table edge is interrupted by a cloth or object going over the edge.</li>
<li><b>Plan your background</b> when you are doing the photography. Making up a background after the fact is one of the hardest things in watercolor. It is best to be sure your reference photo already contains a good background. When the background appears behind glass objects, it can be used to really illuminate the glassiness of the object, as you can see with the green glass vase in my reference photo above.</li>
<li><b>To make your cast shadows look really light and airy</b>, have an object pass from the light into the shadow (such as a spoon, napkin, pencil, etc.). This makes the cast shadow very convincing!</li>
<li><b>What tips can you think of? </b> Would you be willing to leave a comment to add some additional tips? I would really appreciate this!</li>
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<b>Your Watercolor Challenge: </b>Arrange a still life using the tips and ideas in this article and paint it in watercolor! When you are finished, send me photo of the painting by email and I will post it on this blog!<br />
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Happy painting! --Susan Murphy, on a cold day in March, 2014<br />
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Next time in Part 2: How to get your drawing onto your paper, and how to paint your still life in watercolor! <br />
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-64489027724829125922012-10-29T13:10:00.000-04:002012-11-02T07:06:09.697-04:00Susan Murphy Workshop at the Columbia Art Center<div dir="ltr" style="text-align: left;" trbidi="on">
I was invited to give a workshop at the Columbia Art Center in Columbia, MD this past weekend, and I would like to share with you some pictures and paintings from the workshop. For the first time, I taught my "rivulet technique" in a workshop setting. People have often asked me how I create the interesting textural effect in some of my paintings. So the purpose of the workshop was to teach about the characteristics of certain watercolor pigments and the textural effects that can be achieved by them, and then to have to students apply these techniques to a figure or portrait painting.<br />
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This first photo is of me on the second day of the workshop, demonstrating the rivulet technique on a painting that is going to be a statue. Many thanks to Lindsay Lucas for the photo! Scroll down to see paintings by the students and a description of the techniques.<br />
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<a href="http://4.bp.blogspot.com/-zaBJSd-7MmE/UI6Nf9Vd8aI/AAAAAAAABAw/sr_Imk3Aork/s1600/from+Lindsay+Lucas.jpeg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-zaBJSd-7MmE/UI6Nf9Vd8aI/AAAAAAAABAw/sr_Imk3Aork/s320/from+Lindsay+Lucas.jpeg.jpg" width="240" /></a> </div>
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Susan Avis Murphy demonstrating her rivulet technique</div>
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<a href="http://1.bp.blogspot.com/-3BNor0_qBM8/UI6TUVO6NtI/AAAAAAAABBQ/cK503au7dTY/s1600/Columbia+Art+Center.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="http://1.bp.blogspot.com/-3BNor0_qBM8/UI6TUVO6NtI/AAAAAAAABBQ/cK503au7dTY/s320/Columbia+Art+Center.JPG" width="320" /></a></div>
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This is the <a href="http://columbiaartcenter.org/" target="_blank">Columbia Art Center</a>, where the workshop was held.</div>
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<a href="http://1.bp.blogspot.com/-Rgihw89xHm8/UI6NPKFoGOI/AAAAAAAAA-g/h8enYQhry5c/s1600/Carol+Zika--Frida+Kahlo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="http://1.bp.blogspot.com/-5JwvHHmxuC0/UI6NfDm2QxI/AAAAAAAABAo/5fF5zsvRYn0/s1600/from+Karen+Schuster2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-5JwvHHmxuC0/UI6NfDm2QxI/AAAAAAAABAo/5fF5zsvRYn0/s320/from+Karen+Schuster2.jpg" width="240" /></a></div>
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Thanks to Karen Schuster for this photo!</div>
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<a href="http://3.bp.blogspot.com/-mkOg8KNrwAs/UI6NdPq6ObI/AAAAAAAABAY/k5x5R6Xp56A/s1600/from+Anne+Mauer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-mkOg8KNrwAs/UI6NdPq6ObI/AAAAAAAABAY/k5x5R6Xp56A/s320/from+Anne+Mauer.jpg" width="320" /></a></div>
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And thanks to Anne Mauer for this one! The painting above is a watercolor by yours truly titled <i>Mounted Water Sprite</i></div>
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<a href="http://2.bp.blogspot.com/-4pz3BfFBoJA/UI6NP-0ugAI/AAAAAAAAA-o/e3euHeFvUew/s1600/IMG_5660.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-4pz3BfFBoJA/UI6NP-0ugAI/AAAAAAAAA-o/e3euHeFvUew/s320/IMG_5660.jpg" width="320" /></a></div>
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We had eleven people in the workshop. The Columbia Art Center was a good location for this, and they provided nice hospitality and refreshments for us!</div>
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<a href="http://2.bp.blogspot.com/-vv9Ujtpiymo/UI6NQu-rfjI/AAAAAAAAA-w/eF92GyzvoPQ/s1600/IMG_5662.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-vv9Ujtpiymo/UI6NQu-rfjI/AAAAAAAAA-w/eF92GyzvoPQ/s320/IMG_5662.jpg" width="320" /></a></div>
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For the first day of the workshop, I wanted the students to have a chance to practice doing the rivulet technique, and also using stencil brushes to "lift off" the non-stainting pigments that we were using in order to create the lighter parts of the picture. Since we only had two days, I did not want students to have to spend a lot of time drawing. So I provided for each of them a quarter sheet of Arches 140 lb cold-pressed paper with a contour image already printed on it showing the face of a famous artist. I called these our "Artist Hero" sheets. Below you can see the one I painted. Can you guess who this is? At the end of the blog I will give you the answer.<br />
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The pre-printed sheets were created on my medium-format Epson printer using indelible inks. First I took the raw photo (derived by Googling these artist heroes), and put it through a Photoshop filter called "photocopy". Then I adjusted and lightened the image so it would not be too dark. And last I put a quarter sheet of Arches into the printer and printed each one. We had seven different famous artists to work from.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-z0t1iV_Z-FI/UI6NaPv-PhI/AAAAAAAABAA/xeBmxADdMqw/s1600/Young+Salvadore+Dali--step+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-z0t1iV_Z-FI/UI6NaPv-PhI/AAAAAAAABAA/xeBmxADdMqw/s400/Young+Salvadore+Dali--step+1.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step one: the pre-printed sheet</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_L6B7Vq07VU/UI6NbR5lKpI/AAAAAAAABAI/SHEyo4or4pI/s1600/Young+Salvadore+Dali--step+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-_L6B7Vq07VU/UI6NbR5lKpI/AAAAAAAABAI/SHEyo4or4pI/s400/Young+Salvadore+Dali--step+2.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 2</td></tr>
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Step 2: the rivulet technique has already been done (more about this below), some of the lights on his face have been lifted out, and some of the darks have been glazed in</div>
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<tr><td class="tr-caption" style="text-align: center;">Step 3</td></tr>
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Step 3: More lights have been lifted and more darks glazed in. The painting has not been finished yet, and eventually I hope to add the finished image to this posting.</div>
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Now for some of the paintings done by students in the workshop. These came out extremely well in my opinion! I wasn't sure how well people would be able to do this technique the first time, but obviously I had a group of artists who catch on fast! Some of these paintings are not quite finished. Also I was not able to capture a photo of each and every painting. If the artists can email me their photos, I can put them on this post! Missing are Pablo Picasso and John Singer Sargent!</div>
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<a href="http://4.bp.blogspot.com/-wvc-sEFLjAQ/UI6NRj4OxgI/AAAAAAAAA-4/t-6iKcvGG_g/s1600/Joan+Lok--an+older+Georgia+O%27Keeffe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="http://4.bp.blogspot.com/-musMgWcyyMo/UI6NUXo2nTI/AAAAAAAAA_I/NXaDO7RiGys/s1600/Karen+Schuster--NC+Wyeth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-musMgWcyyMo/UI6NUXo2nTI/AAAAAAAAA_I/NXaDO7RiGys/s320/Karen+Schuster--NC+Wyeth.jpg" width="233" /></a><i> </i></div>
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<i>NC Wyeth</i> by Karen Schuster</div>
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<a href="http://4.bp.blogspot.com/-wvc-sEFLjAQ/UI6NRj4OxgI/AAAAAAAAA-4/t-6iKcvGG_g/s1600/Joan+Lok--an+older+Georgia+O%27Keeffe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<a href="http://2.bp.blogspot.com/-wvc-sEFLjAQ/UI6NRj4OxgI/AAAAAAAAA-4/t-6iKcvGG_g/s1600/Joan+Lok--an+older+Georgia+O%2527Keeffe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-wvc-sEFLjAQ/UI6NRj4OxgI/AAAAAAAAA-4/t-6iKcvGG_g/s320/Joan+Lok--an+older+Georgia+O%2527Keeffe.jpg" width="233" /></a><i> </i></div>
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<i>An Older Georgia O'Keeffe</i> by Joan Lok</div>
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<a href="http://3.bp.blogspot.com/-TxPt8VRCq_0/UI6NVYfxzXI/AAAAAAAAA_Q/if951EbkT54/s1600/Madalyn+Johns--Frida+Kahlo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-TxPt8VRCq_0/UI6NVYfxzXI/AAAAAAAAA_Q/if951EbkT54/s320/Madalyn+Johns--Frida+Kahlo.jpg" width="263" /></a><i> </i></div>
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<i>Frida Kahlo</i> by Madalyn Johns </div>
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<a href="http://4.bp.blogspot.com/-ZhsMNNJlTh4/UI6NV7bJhEI/AAAAAAAAA_Y/cgkdLWPlpCI/s1600/Pam+Hannasch--Frida+Kahlo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-ZhsMNNJlTh4/UI6NV7bJhEI/AAAAAAAAA_Y/cgkdLWPlpCI/s320/Pam+Hannasch--Frida+Kahlo.jpg" width="231" /></a><i> </i></div>
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<i>Frida Kahlo</i> by Pam Hannasch</div>
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<a href="http://1.bp.blogspot.com/-LTbjjIk5vDc/UI6NZZ8fXwI/AAAAAAAAA_4/3K9zGOXne8A/s1600/Unapama+Sinha--an+older+Georgia+O%2527Keeffe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-LTbjjIk5vDc/UI6NZZ8fXwI/AAAAAAAAA_4/3K9zGOXne8A/s320/Unapama+Sinha--an+older+Georgia+O%2527Keeffe.jpg" width="234" /></a><i> </i></div>
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<i>Georgia O'Keeffe</i> by Anupama Sinha</div>
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<a href="http://2.bp.blogspot.com/-4F01Dvou0B0/UI6NSmJp8HI/AAAAAAAAA_A/MF0njFbeNEU/s1600/Julia+Neidorf--a+young+Georgia+O%2527Keeffe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-4F01Dvou0B0/UI6NSmJp8HI/AAAAAAAAA_A/MF0njFbeNEU/s320/Julia+Neidorf--a+young+Georgia+O%2527Keeffe.jpg" width="242" /></a><i> </i></div>
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<i>A Young Georgia O'Keeffe</i> by Julia Neidorf</div>
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<a href="http://1.bp.blogspot.com/-Rgihw89xHm8/UI6NPKFoGOI/AAAAAAAAA-g/h8enYQhry5c/s1600/Carol+Zika--Frida+Kahlo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-Rgihw89xHm8/UI6NPKFoGOI/AAAAAAAAA-g/h8enYQhry5c/s320/Carol+Zika--Frida+Kahlo.jpg" width="240" /></a><i> </i></div>
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<i>Frida Kahlo</i> by Carol Zika</div>
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<a href="http://4.bp.blogspot.com/-8JQueDsN9ag/UI_kpewQEtI/AAAAAAAABDU/pEwPKWHYrWw/s1600/Anne+Mauer--Frida--from+CAC+workshop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-8JQueDsN9ag/UI_kpewQEtI/AAAAAAAABDU/pEwPKWHYrWw/s320/Anne+Mauer--Frida--from+CAC+workshop.jpg" width="240" /></a></div>
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<i>Frida Kahlo</i> by Anne Mauer</div>
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Now I am going to discuss a little bit about the procedure we used in doing these paintings, and also show the first half of my painting process for the demonstration of a statue that I did on the second day. Below is a copy of my reference photo, which is a small statue in a
pebble garden at Dumbarton Oaks, a beautiful Georgetown garden in
Washington, DC. Unfortunately I do not have a photo of the first step, where the drawing has been completed. But if you can imagine, on a half sheet of stretched Arches 140 lb cold-pressed paper, I had created a contour drawing of a statue. I then went over the graphite with an indelible Sakura Micron pen (a 01 fine medium brown felt tip pen that uses pigmented ink, which is both lightfast and indelible) so that the drawing would not wash off in the next step. </div>
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<a href="http://1.bp.blogspot.com/-uuSPa0qjJTg/UI6dAgJ6n0I/AAAAAAAABBw/uYYcea7E-K8/s1600/Water+Nymph--flipped+and+color+corrected.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-uuSPa0qjJTg/UI6dAgJ6n0I/AAAAAAAABBw/uYYcea7E-K8/s320/Water+Nymph--flipped+and+color+corrected.jpg" width="220" /></a> </div>
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reference photo for <i>Sprite of Dumbarton</i> by Susan Avis Murphy</div>
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In Step 1 below, I have done a large wash over the entire sheet, using Winsor & Newton raw umber, and Holbein verditer blue. I worked quickly, keeping all the paint wet, and then tilted the board and sprayed the paint with a fine water sprayed (like a plant mister), causing the paint to drop down the paper. This results in an interesting textural effect as the water passes through the raw umber and forms "rivulets". See the detail below.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-a_64PJ-zSDs/UI6NXMszr6I/AAAAAAAAA_g/ia5tZ5Q4Y1I/s1600/Sprite+of+Dumbarton--step+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-a_64PJ-zSDs/UI6NXMszr6I/AAAAAAAAA_g/ia5tZ5Q4Y1I/s400/Sprite+of+Dumbarton--step+1.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 1: the rivulet wash</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-OTcD9NedTTM/UI6f1aRDe9I/AAAAAAAABCU/AA5nvSnEOYc/s1600/Sprite+of+Dumbarton--step+2--+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-OTcD9NedTTM/UI6f1aRDe9I/AAAAAAAABCU/AA5nvSnEOYc/s400/Sprite+of+Dumbarton--step+2--+detail.jpg" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 1 detail</td></tr>
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In Step 2 below, I have done two important things. First, I began to lift out the paint on the light parts of the statue, mainly where sunlight is striking the edges. To do this lifting process, I used small stencil brushes, which are blunt bristle brushes used to daub on paint through a stencil. Of course we are not using stencils here, but the brushes are extremely useful for removing watercolor paint from a picture because they are stiff and the round blunt ones can obtain almost a hard edge. This entire painting process depends upon the use of "liftable" paints, ie, pigments that are not staining by nature.</div>
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Second, I applied a light glaze of transparent colors around the top half of the statue in order to bring out his shape. Here I had to be careful to apply the glaze gently and not scrub the underlying paint because I wanted the underlying rivulet texture to show through the glaze!</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-JSdbtKPI7nw/UI6NX2B9lYI/AAAAAAAAA_o/pggVASS-QL4/s1600/Sprite+of+Dumbarton--step+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-JSdbtKPI7nw/UI6NX2B9lYI/AAAAAAAAA_o/pggVASS-QL4/s400/Sprite+of+Dumbarton--step+2.jpg" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 2: lifting</td></tr>
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In Step 3 below, I have also applied a light glaze to the statue itself to darken the shadow side a little. The colors I used were Winsor and Newton permanent violet and cobalt violet, and Holbein vertider blue. This is an opportunity to incorporate more color into an otherwise brown picture! Again, I had to apply the wash with a light touch to avoid dissolving the underlying raw umber, which is a very liftable color. </div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-001UpN-llkU/UI6NYsarJ-I/AAAAAAAAA_w/RcnjBXWcXOA/s1600/Sprite+of+Dumbarton--step+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-001UpN-llkU/UI6NYsarJ-I/AAAAAAAAA_w/RcnjBXWcXOA/s400/Sprite+of+Dumbarton--step+3.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Step 3: first glazing</td></tr>
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In Step 4 below, I have done more glazing of the shadow areas, and have started delineating areas of the body a little more. I am not going to go too far with this, since I don't want to over-work the picture. One of the nice things about having this textured background wash, is that most of the picture already has a kind of painterly detail, so that you do not have to incorporate so much realistic detail. Also I have used a light wash of titanium white in the background. This is an opaque color, but if you apply it as a translucent wash, the rivulet texture will still show through. This is as far as I got on the demonstration during the workshop. I
will try to finish the painting and post the final results on this
blog. I intend to add a more darks around the body of the statue and in his pedestal to define it a <u>little</u> more, but otherwise it is almost finished. The below photo of the painting was taken at my home studio using my photography lights, and is more truly representative of the colors in the picture.</div>
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<i>Sprite of Dumbarton</i> (unfinished) by Susan Avis Murphy</div>
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In conclusion, in your next painting you might want to consider using non-staining paints and a lifting method to retrieve your light colors. This will allow you to work back and forth between lights and darks, and will allow you more flexibility in the evolution of your painting. There is a lot more I could tell you about these techniques, but enough for this posting! I will be teaching this method in greater depth the next session of my online studio class. Visit the <a href="http://arthouseart.com/node/466" target="_blank">Classes section</a> of my website for more information! </div>
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By the way, my "mystery artist" in my first demonstration above was a young Salvadore Dali! </div>
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Susan Murphy, ARThouse, October 29, 2012<br />
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This just in! One of the workshoppers, Lindsay Lucas, sent this finished statue painting from the workshop, showing a statue made by a New Mexico artist. The little woman with the big hands is showing what you look like in the mirror!<br />
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And this <i>Mounted Water Sprite</i> was sent by Anupama Sinha:</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-16347143522073182442012-10-24T09:19:00.000-04:002012-11-28T07:42:15.038-05:00Paintings from the People Working class<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Trebuchet MS",sans-serif;">Below are some of the first results from our <i>Painting People Working</i> course here at ARThouse this fall. In the first class we analyzed some of the photographs that students brought in of people working, looking for possible pitfalls and compositional problems. Almost all of these photos had to be altered during the painting process in some way, such as:</span><br />
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<li><span style="font-family: "Trebuchet MS",sans-serif;">cropping to focus on the person</span></li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">eliminating extraneous detail and simplifying the composition</span></li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">being aware of distracting linear elements that pull your eye right out of the composition </span></li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">being aware that photographs do not record the values in shadows very well: the black shadows you will see in many photos are an artifact of the photography and the way the light meter reads the situation; the human eye would not see these shadows as totally black</span></li>
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<span style="font-family: "Trebuchet MS",sans-serif;">The first assignment was to work in a "straight watercolor manner". In other words, to use basic watercolor techniques, such as painting from light to dark, laying in background colors with large washes, and glazing to adjust values. The student paintings below are not quite finished in some cases, but I captured a photograph of them so that we could share them with the class. </span><br />
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<a href="http://2.bp.blogspot.com/-JamFg91WHmU/ULYGPuIuiyI/AAAAAAAABKk/d_BeeKKcP5o/s1600/Angela+Lacy--Met+Museum--500+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-JamFg91WHmU/ULYGPuIuiyI/AAAAAAAABKk/d_BeeKKcP5o/s400/Angela+Lacy--Met+Museum--500+pixels.jpg" width="316" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"><i> Near the Metropolitan</i> watercolor by Angela Lacy</span></span></span></div>
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<a href="http://1.bp.blogspot.com/-2I7XZ198d30/UIfd5_c7MbI/AAAAAAAAA7Q/Rq81Ba75-W4/s1600/Barbara+Scheihing--clam+digger--600+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="http://1.bp.blogspot.com/-2I7XZ198d30/UIfd5_c7MbI/AAAAAAAAA7Q/Rq81Ba75-W4/s400/Barbara+Scheihing--clam+digger--600+pixels.jpg" width="400" /></a></div>
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<i>Clam Digger</i> watercolor by Barbara Scheihing (unfinished)</div>
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<a href="http://3.bp.blogspot.com/-R1aCacAjPKs/UIfd6hBVCcI/AAAAAAAAA7Y/VZF2bA8fTqo/s1600/Cecile+Kirkpatrick--glass+blower--600+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="347" src="http://3.bp.blogspot.com/-R1aCacAjPKs/UIfd6hBVCcI/AAAAAAAAA7Y/VZF2bA8fTqo/s400/Cecile+Kirkpatrick--glass+blower--600+pixels.jpg" width="400" /></a></div>
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<i> Glass Blower</i> watercolor by Cecile Kirkpatrick</div>
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<i>Stone Cutter</i> watercolor by Deborah Cohan (unfinished)</div>
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<a href="http://2.bp.blogspot.com/-Cuy_y5demfE/UIfd7204vyI/AAAAAAAAA7o/u3FFEcpPgMk/s1600/Mimi+Hegler--life+guard--500+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-Cuy_y5demfE/UIfd7204vyI/AAAAAAAAA7o/u3FFEcpPgMk/s400/Mimi+Hegler--life+guard--500+pixels.jpg" width="366" /></a></div>
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<i>Life Guard</i> watercolor by Mimi Hegler</div>
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<a href="http://3.bp.blogspot.com/-ApjuF89aEIQ/UIfd8gUJzjI/AAAAAAAAA7w/4cx26OAJTnM/s1600/Soo+Kim--++Sean+in+the+pool--600+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="http://3.bp.blogspot.com/-ApjuF89aEIQ/UIfd8gUJzjI/AAAAAAAAA7w/4cx26OAJTnM/s400/Soo+Kim--++Sean+in+the+pool--600+pixels.jpg" width="400" /></a></div>
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The Swimmer watercolor by Soohyun Kim (unfinished)</div>
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<a href="http://1.bp.blogspot.com/-OwjOgDPASjo/UIffrHaKVsI/AAAAAAAAA8A/hhdmIRfa03g/s1600/Lincoln+and+Kirk--600+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-OwjOgDPASjo/UIffrHaKVsI/AAAAAAAAA8A/hhdmIRfa03g/s400/Lincoln+and+Kirk--600+pixels.jpg" width="305" /></a></div>
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<i>The Farrier</i> watercolor by Deanna Williford </div>
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<i>Washday </i> watercolor by Han-yin Shen</div>
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<a href="http://1.bp.blogspot.com/-n6sr_48fenU/UIqU4qNnfhI/AAAAAAAAA-E/EMOSbDne-IU/s1600/The+Apprentice--500+pixels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-n6sr_48fenU/UIqU4qNnfhI/AAAAAAAAA-E/EMOSbDne-IU/s400/The+Apprentice--500+pixels.jpg" width="312" /></a></div>
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<i>The Apprentice</i> by Erika Jackson</div>
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Aren't these great? People have gotten off to an excellent start! This course is also available as an online course for only $50. Visit the website <a href="http://arthouseart.com/node/462" target="_blank">here</a> to register. You can see a preview of my own demonstration painting for this first assignment <a href="http://arthouseart.com/node/466" target="_blank">on my website</a>. My own painting is going to be titled <i>Teppanyaki Chef</i> and this is how it looks so far:</div>
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For Class Two, we are working in what I call the "jigsaw style". By this I mean that the watercolor is comprised of hundreds of small, irregular shapes that interlock together to create a unified whole. Below is my almost-completed painting from the Class Two demonstration, titled <i>Rainy Night Beijing</i>. The painting still needs to be tweaked a little to give it a stronger illusion of reality. Up close it looks almost completely abstract, but when you step 10 feet back, everything <u>almost</u> falls into place!</div>
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<a href="http://3.bp.blogspot.com/-vg-MG6rt_Cs/UIfnTSKKDcI/AAAAAAAAA88/hkXJS_bAtag/s1600/Rainy+Night+Beijing+day+3+demo+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-vg-MG6rt_Cs/UIfnTSKKDcI/AAAAAAAAA88/hkXJS_bAtag/s400/Rainy+Night+Beijing+day+3+demo+(3).jpg" width="258" /></a></div>
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<i>Rainy Night Beijing</i> by Susan Avis Murphy, AWS (unfinished)</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-33756484772784450382012-09-06T14:28:00.000-04:002012-10-25T10:15:27.886-04:00Pictures of people working for our upcoming watercolor class<div dir="ltr" style="text-align: left;" trbidi="on">
Painting People Working is the title of watercolor class that I am teaching here at ARThouse this fall. The class is all filled up with 32 students, but it is also being offered online, and there are still some slots available (<a href="http://arthouseart.com/node/462" target="_blank">watercolor classes at ARThouse</a>). I am collecting photos of people working and would like to present some of them here. This will give you some idea of the kind of things I intend to paint as demonstrations. So let's go! These are all photos I have taken myself, in China and elsewhere:<br />
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Of course it will probably be necessary to crop and alter many of these images to make a successfull painting. We are going to study several different approaches to this subject, from loose and semi-abstract to tight and representational. Do you have any favorites? I have hundreds of other photos that I have collected over the years on this theme.<br />
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Now I would like to show you some paintings done by myself and other artists of people working.<br />
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watercolor by Frank Webb</div>
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I just took an incredible workshop with Frank Webb, and he advocates adding small figures to your paintings, especially of people working!</div>
<br />
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<i>Brooklyn Butcher Shop</i> -- watercolor by John Salminen</div>
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John Salminen is a master of the urban scene, and almost always includes figures going about their business</div>
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<i>Earth, Air, Fire, Water</i> -- oil painting by Lincoln Perry</div>
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<i>Lushan Market</i> -- watercolor by John Salminen</div>
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Another fantastic painting by John Salminen, showing people hard at work in China</div>
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<div style="text-align: center;">
<i>Sister Heyward</i> -- watercolor by Mary Whyte</div>
<div style="text-align: center;">
Mary Whyte is one of my favorite watercolorists. She has thoroughly explored the workings and doings of people in the south, and documented a fast fading form of rural life in her book "Working South". I own a copy and would highly recommend it.</div>
<br />
<br />
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watercolor by Burt Silverman</div>
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One of my first influences in watercolor, Burt Silverman often paints people working in factories or doing their chores, in his subtle style using lifting-off techniques</div>
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<i>The Operator </i>-- watercolor by Burt Silverman</div>
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I love this painting.</div>
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<i>Peace and Dumplings</i> -- watercolor by Susan Avis Murphy</div>
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Here is one of my own, done in 2011. This girl was stationed outside our little hotel in Beijing, selling bao-tze, a form of pork-filled dumpling</div>
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<div style="text-align: center;">
<i>The Retired Toolmaker</i> -- watercolor by Susan Avis Murphy</div>
<div style="text-align: center;">
This is my father-in-law, Lorenzo Colombini, who passed away recently. He was a machinist working for Canadair in Montreal. Here is is working in his basement. I worked from a photo, but most of the background was unsuitable, so I made it up.</div>
<br />
Aren't these wonderful pictures? The subject matter, people working, has an inherent dignity to it that will give our paintings a timelessness and universal quality that is the basis of good art. I think we will have a lot of fun with this subject and paint some excellent pictures. Stay tuned, as I will be posting the results on this blog.<br />
<br />
For students signed up for the class, both in-person and on-line, there will be a special private blog with premium content that you have already paid for, explaining in detail how my demonstration paintings are done. You will receive log-in information for this private blog on around September 10, 2012. For others who may wish to access this course material, you can sign up for the online course by following this link: <a href="http://arthouseart.com/node/462" target="_blank">Painting People Working</a>. It is only $50.<br />
<br />
<br />
<br /></div>
Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com0tag:blogger.com,1999:blog-6861959177651689402.post-47161630355750672332012-08-17T13:51:00.002-04:002012-08-17T13:51:45.739-04:00Upcoming watercolor class: Painting People Working<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"> </span><b><span style="color: #c00000; font-family: "Arial","sans-serif"; font-size: 10.0pt;">Intermediate/advanced
watercolor classes at ARThouse—Fall 2012:<span style="mso-spacerun: yes;">
</span><i>“People Working”</i></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
<b>I will be teaching a <u>watercolor course for adults</u> at my
studio, ARThouse, every other week from Sept. 18<sup>th</sup> through Nov. 7th.</b>
This will be a five-session course on figure painting in watercolor.
There will be four sections at different time slots for each class, each
covering the same material for that week. We will focus on painting
“people working”, not just sitting around! These will be demonstration
and critique classes only—we will not paint in class. Instead,
assignments will be given based upon the demonstration. The classes will
be two weeks apart, giving you time to work on the assignment at home and then
bring it in for a group critique in the next class.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"> <u>At this writing, I'm afraid there are only two spaces left for the in-person course</u> (they are both on Tuesday evening). But read further -- we now have an <u>online version of the course! </u></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-N4gYZP8PMRw/UC4-hW6xNfI/AAAAAAAAA00/y1NOFHVB020/s1600/The+RetiredToolmaker--website.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-N4gYZP8PMRw/UC4-hW6xNfI/AAAAAAAAA00/y1NOFHVB020/s320/The+RetiredToolmaker--website.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Retired Toolmaker</i> 28x20" watercolor<br />by Susan Avis Murphy, AWS</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
The demonstrations will be full, detailed demonstrations showing how a
medium-large, complex painting might be done. I might start a
demonstration in one class and finish it during the next class that evening or
the next day. You will be encouraged to come up with your own reference
material for your own painting at home, but I will have reference photos
available also. We will work in a variety of styles, from
loose to tight to semi-abstract. You will get some nice paintings out of
this if you work hard.</span></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-9vc651--2CM/UC4_nueoSGI/AAAAAAAAA08/5D34aMCTH0k/s1600/IMG_2994--website.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://2.bp.blogspot.com/-9vc651--2CM/UC4_nueoSGI/AAAAAAAAA08/5D34aMCTH0k/s320/IMG_2994--website.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Murphy painting under demonstration mirror at ARThouse</td></tr>
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<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
The course will be $150 for the five sessions. The same material will be
covered in each section of the class, and you can change between sections
occasionally when necessary (send me an email). There will be only 8
students in each class. I will be writing a blog article following each
set of classes, with step-by-step photos, a list of colors used, and a detailed
explanation of the painting technique. You will be able to sign up to
receive these blog articles by email, and people find that they are very
useful. This time the blog will be private initially and available only to
people who sign up for the course, as part of their tuition. </span></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-PIQlEkMoVwA/UC5AiEMJukI/AAAAAAAAA1E/ttYwg2IxH-g/s1600/IMG_4929--website.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://2.bp.blogspot.com/-PIQlEkMoVwA/UC5AiEMJukI/AAAAAAAAA1E/ttYwg2IxH-g/s320/IMG_4929--website.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Class of students at ARThouse</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
<b>Also we are introducing something new. There will be an <u>online
version of the course</u> for only $50!</b> If you are not able to attend
in person, or the course is fully registered, you will be able to subscribe to
the online version, which will be limited to 70 people. The online course
will be available either with or without individual critiques. Here is
what it will include:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">Online
Course version A:</span></b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Every two weeks, you will receive an assignment and many materials to help you
complete the assignment. You will receive this as an email link to the
private version of the ARThouse Studio School blog. The blog article will
include about 10 step-by-step photos of that week's class demonstration, along
with a very detailed description of the painting process to help you with your
own painting. We intend to occasionally include videos of these demonstrations.
Your online assignment will come by the Saturday after each session has been
taught. Limited to 50 people, with cost of $50.<span style="mso-spacerun: yes;"> </span>Still have openings as of 8/17/12</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">Online
Course version B with critique:</span></b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"> Includes everything in version A, <u>plus
five separate private critiques of your work</u>. You will email me an
image of your painting, either partially finished or finished, and I will email
back with a detailed critique of the work and suggestions for improvement or
ideas for how to finish the work. Instead of doing this by email, you can
bring the painting over in person if you live nearby. Limited to 20
people, with cost of $100.<span style="mso-spacerun: yes;"> </span>Still have
openings as of 8/17/12)</span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">The schedule will be
as follows:</span></b></div>
<div class="MsoNormal">
<u><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">Series
of 6 classes (one every other week) during the following times</span></u><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">: (you sign up
for one if taking the in-person class)</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Tuesday afternoons from 1 – 4 pm<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>(sorry—class filled)</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Tuesday evenings from 7 - 10 pm<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>(a few openings)</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Wednesday afternoons from 1 - 4 pm <span style="mso-spacerun: yes;">
</span>(sorry--class filled)</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Wednesday evenings from 7 - 10 pm <span style="mso-spacerun: yes;">
</span>(sorry--class filled)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">The
dates of the classes will be</span></u><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">:</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
<span style="mso-spacerun: yes;"> </span> Class 1: Sept. 18 & 19</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Class 2: October 2 & 3</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
<span style="mso-spacerun: yes;"></span>Class 3: October 16
& 17</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><span style="mso-spacerun: yes;"></span>Class
4: October 30 & 31</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><span style="mso-spacerun: yes;"></span>Class
5: November 6 & 7</span></div>
<br /><div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="color: #c00000; font-family: "Arial","sans-serif"; font-size: 9.0pt;">Registration
this time is going to be on my website</span></u></b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"> at <a href="http://www.arthouseart.com/">www.arthouseart.com</a>,
and <b style="mso-bidi-font-weight: normal;"><u><span style="color: #c00000;">will
be available starting on August 13</span></u></b>. You can sign up by
clicking one of the links below and paying with PayPal (you do not need a
PayPal account). I will not be accepting checks this time! <u>If
you have any questions, please email, call, or visit me at the studio.</u></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">
Refund policy: You must plan to attend at least 4/5 of the classes to be
enrolled, and pay for all five classes. If you miss one of your classes,
you can come to one of the other sessions that week or any week.
Otherwise, there are no refunds, with a few exceptions such as medical
problems.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">Susan
Murphy 8/17/12</span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;">Click
link below to register for your class:</span></b><span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWTA">People Working Class: Tuesday Afternoon $150</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWTE">People Working Class: Tuesday Evening $150</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWWA">People Working Class: Wednesday Afternoon
$150</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWWE">People Working Class: Wednesday Evening $150</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWOnlineB">People Working Class: Online With
Critique $100</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 9.0pt;"><a href="http://arthouseart.com/PWOnlineA">People Working Class: Online Without
Critique $50</a></span></div>
</div>
Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com3tag:blogger.com,1999:blog-6861959177651689402.post-74483215426702050042012-07-15T15:29:00.003-04:002012-07-17T07:11:40.185-04:00The Fascinating Process of Aquatint and the Art of Mimi Hegler<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #00b0d4; font-family: Segoe Print,Comic Sans MS,Arial,sans-serif; font-size: 14pt;"><b>The Fascinating Process of Aquatint and the Art of Mimi Hegler</b></span>
<br />
<div align="center" style="margin-bottom: 0px; margin-top: 0px; text-align: center;">
<span style="color: #00b0d4; font-family: Segoe Print,Comic Sans MS,Arial,sans-serif; font-size: 14pt;"><b><span style="font-family: Calibri,Helvetica,Arial,sans-serif; font-size: 10pt;">by Susan Murphy</span> </b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Verdana,Geneva; font-size: 10pt;"> </span> </div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Calibri,Helvetica,Arial,sans-serif;">I
first came to know Mimi Hegler about 25 years ago when I was a new
member of the Olney area artist community. She was also painting in
watercolor at that time and we met and saw each other's work at local
art events over the years. I got to know her better more recently when,
at the suggestion of her sister Donna Moeller, she joined my watercolor
class here at ARThouse. I was surprised because Mimi certainly doesn't
need to take my classes! But we have a very interesting and vibrant
group of people meeting for watercolor classes here and several very
accomplished artists come to be part of that group and gain inspiration
from each other.</span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Calibri,Helvetica,Arial,sans-serif;">
Mimi is not only a superb watercolorist, but also expert in creating
fascinating etchings and aquatints, especially in miniature. We
are featuring her art on a dedicated wall space during July and August,
as part of our annual student show, and we held a very well-attended reception for her on July 14th. Some of her best watercolors will be on display,
as well as her fabulous aquatint etchings (see samples an brief
biography in left sidebar). You would really take pleasure in seeing this
work in person, if you are in the area and able to stop by!</span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Calibri,Helvetica,Arial,sans-serif;">
You may not know what the aquatint process is all about, and we would
like to explain it a little bit here. Also, at her show we
have samples of aquatint plates and some of the materials used to make
these special colored etchings (a type of "original print"). What
follows is an explanation of the process in Mimi's own words:</span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<table class="imgCaptionTable" style="margin-bottom: 5px; margin-top: 5px; text-align: center; width: 426px;"><tbody>
<tr><td class="imgCaptionImg" colspan="1" rowspan="1" style="text-align: center;" width="426"><img border="0" hspace="0" name="ACCOUNT.IMAGE.287" src="http://ih.constantcontact.com/fs074/1103773510860/img/287.jpg?a=1110414741682" vspace="0" width="426" /></td></tr>
<tr><td class="imgCaptionText" colspan="1" rowspan="1" style="color: black; font-family: Calibri,Helvetica,Arial,sans-serif; font-size: 9pt; font-style: normal; font-weight: 400; text-align: center;"><div>
Mimi Hegler at her printing press in Ashton, Maryland</div>
</td></tr>
</tbody></table>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"> <i> <br />
"An original print is a fine art process that produces multiples. In no
sense is an original print a copy or a reproduction. Each print is, in
itself, an original-created and hand-pulled by the artist. </i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
An aquatint is created by etching sections, rather than lines, of a
plate in order to create areas of uniform tone. An aquatint is prepared
by applying resin or a similar ground to a metal [copper or zinc] plate,
which is then heated, thus adhering the ground to the metal. This gives
a roughness or grain to the plate which adds texture to the image. The
plate is then immersed in an acid bath, which bites or etches the plate
and creates areas which will hold the ink. The design is created with
gradations of tone achieved through repeated acid baths combined with
varnish used to stop out areas of lighter tone. Aquatint is an intaglio
process, so prints made in this manner will have a platemark.
Aquatinting, with its areas of tone, was often used to duplicate the
feel of a watercolor. Some etching was frequently used in an aquatint
print to create linear elements in the image. Aquatints were invented by
Jean Baptiste Le Prince around 1768, and became especially popular
among British printmakers in the first part of the nineteenth century.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
My work begins with an idea, then proceeds to many sketches to work out
composition and values. Planning is essential in creating aquatints.
When I'm satisfied with all aspects of the drawing, I transfer it to an
aquatinted zinc plate. Now the work begins of carefully layering in each
value with stopout and then dipping in acid. After multiple layers and
dips, the plate is ready to print. I ink yellow onto the plate and
slowly and carefully wipe off where it doesn't belong. Using my Conrad
press the plate is printed on wet paper, then cleaned and re-inked and
printed successively with red and blue. The result is a unique original
print which cannot be exactly duplicated, though I try very hard to make
each one in my small edition as close as possible.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<table class="imgCaptionTable" style="margin-bottom: 5px; margin-top: 5px; text-align: center; width: 426px;"><tbody>
<tr><td class="imgCaptionImg" colspan="1" rowspan="1" style="text-align: center;" width="426"><img border="0" height="400" hspace="0" name="ACCOUNT.IMAGE.288" src="http://ih.constantcontact.com/fs074/1103773510860/img/288.jpg?a=1110414741682" vspace="0" width="276" /></td></tr>
<tr><td class="imgCaptionText" colspan="1" rowspan="1" style="color: black; font-family: Calibri,Helvetica,Arial,sans-serif; font-size: 8pt; font-style: italic; font-weight: 400; text-align: center;"><div>
Mimi holding an aquatint plate and the resulting printed image</div>
</td></tr>
</tbody></table>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: black; font-family: Calibri,Helvetica,Arial,sans-serif;"><a href="http://www.swanseaprintworkshop.org.uk/printmakingprocesses/aquatint.htm?utm_source=ARThouse+Newsletter+July+2012+--+Meet+Mimi+has+been+postponed+to+next+Saturday&utm_campaign=Mimi+Hegler+postponed&utm_medium=archive" rel="nofollow" shape="rect" style="color: black; text-decoration: underline;" target="_blank">link to description of aquatint process on the web</a></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
My first exposure to the art of the miniature was about 17 years ago
when I joined a local printmaking studio, whose members were busy
creating amazing tiny etchings and aquatints for the shows of the <a href="http://www.mpsgs.org/?utm_source=ARThouse+Newsletter+July+2012+--+Meet+Mimi+has+been+postponed+to+next+Saturday&utm_campaign=Mimi+Hegler+postponed&utm_medium=archive" rel="nofollow" shape="rect" style="color: blue; text-decoration: underline;" target="_blank">MPSGS</a>
[link to Miniature Painters, Sculptors, and Gravers Society] of
Washington, DC. I was determined to try my hand at this demanding
medium.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
Creating art has always been important to me and I previously had
"expressed" myself in oil and watercolor painting. Printmaking was a new
endeavor, and a fine printmaker and painter, Genevieve Roberts, was my
teacher and mentor. Through her encouragement, I was finally able to
create these tiny gems.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
Understanding the concept of the "small" or the spirit of miniature is
difficult at first. It should have a delicate quality not reproducible
as a large work, yet be a tiny "force" with strong composition and
design. A good miniature should stand on its own and possess all the
ability to entice and enrapture the viewer equally as well as any large
artwork of good quality.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
A lifelong love for the natural world dictates most of my subject
matter, whether miniature or larger works-landscape scenes, horses and
other animals, flowers, fruit and vegetables and, occasionally,
children.</i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i>
I am fortunate to belong to several miniature societies including
Miniature Artists of America, Miniature Painters, Sculptors, and Gravers
Society of Washington, DC, The Cider Painters, and the Miniature Art
Society of Florida. Working directly on the annual shows of the MPSGS
gives me access to the work of best miniaturests in the world. How's
that for inspiration!" </i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><i> --Mimi Hegler </i></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: #007da1; font-family: Calibri,Helvetica,Arial,sans-serif;"><span style="color: #333333;">Here
are some samples of Mimi's miniature aquatints. Each are only $110
with a white mat and measure about 8x10" matted. The first seven images themselves
are only 3x4"!</span><i> <span style="color: black;">The last three are about 8x10". Aren't these amazing!? Please tell me what you think by commenting below. --Sue</span></i></span></div>
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</div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-74197137140519741802012-06-22T09:50:00.002-04:002012-06-22T09:54:09.385-04:00The Importance of archival materials for art and framing<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: #17365d; font-family: B650-Deco; font-size: 14pt;"></span></b></div>
<div align="center" class="MsoNormal" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in; text-align: center;">
<b><span style="color: #17365d; font-size: 10pt;">The Importance of Archival Materials: Part 2</span></b><br />
<b><span style="color: #17365d; font-size: 10pt;"> </span></b><span style="color: #17365d; font-size: 10pt;"> </span><span style="font-size: 10pt;"> by Susan Avis Murphy</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> </span><b><span style="font-size: 10pt;">
Do you know what can ruin your appreciation of an artwork after a few years?
Creeping decomposition… </span></b><span style="font-size: 10pt;">I have been working in the
art and framing business now for about 35 years, and I could tell you some
horror stories! In the last article in
this series, I told you about the flowers that faded away completely during
just two years in a painting a customer told me his mother once bought! That was an issue of lightfastness of the
pigments </span><a href="http://archive.constantcontact.com/fs074/1103773510860/archive/1110052115175.html"><span style="font-size: 10pt;">(link to article on
lightfastness)</span></a><span style="font-size: 10pt;">. This article is going to be
about <u>the integrity of the materials the paint is put on and the framing
materials that surround the painting.</u></span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> “Creeping decomposition”
sounds creepy, doesn’t it? Decay of a
painting and its framing can start occurring immediately and become apparent in
about five years. What are the chief
culprits and monsters of this decrepit situation?</span></div>
<div class="MsoListParagraphCxSpFirst" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in; text-indent: -0.25in;">
<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Acid</span></b><span style="font-size: 10pt;">. Acid found naturally in wood pulp materials,
such as cheaper art papers and cheap matboard, will eventually cause those
materials to become yellow and brittle.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in; text-indent: -0.25in;">
<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Mold</span></b><span style="font-size: 10pt;">. Mold present before framing can grow and spot
the surfaces if the picture is stored in a humid environment.</span></div>
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<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Insects</span></b><span style="font-size: 10pt;">. Tiny insects such as spider mites like to
creep into narrow spaces and eventually stain the surface of the mat and
picture.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in; text-indent: -0.25in;">
<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Pollution</span></b><span style="font-size: 10pt;">. Especially smoke, such as cigarette smoke
will eventually dirty the surface of an exposed oil or acrylic painting</span></div>
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<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Dirt</span></b><span style="font-size: 10pt;">. Dirt can somehow get under the glass of a
painting—hard to believe but true!</span></div>
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<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Humidity</span></b><span style="font-size: 10pt;">. Humidity is one of the main culprits and can cause
warping and buckling of the painted surface and mat.</span></div>
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<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Heat and dryness</span></b><span style="font-size: 10pt;">. Heat and excessive dryness can
cause the glue to fail in the joints of the frame. Ever see a frame whose corners are coming
apart? The glue has failed and hopefully
the frame is hanging together by virtue of its joining hardware!</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> Let’s take these monsters one at a time
and see how they can be defeated! In
this article we will discuss acid, and in future articles we will tackle the
other creeps!</span></div>
<div class="MsoListParagraphCxSpFirst" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in; text-indent: -0.25in;">
<span style="font-size: 10pt;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 10pt;">Acid</span></b><span style="font-size: 10pt;">. </span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 1in; text-indent: -0.25in;">
<span style="font-size: 10pt;">o<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-size: 10pt;">Acid found
naturally in wood pulp materials, such as cheaper art papers and cheap
matboard, will eventually cause those materials to become yellow and
brittle. <u>Works of art done on paper</u>
are very vulnerable to this if the paper is made of wood pulp, such as cheap
drawing papers (newsprint used for practice, for example) and cheap watercolor
paper. Paintings and drawings done early
in an artist’s career are often on these surfaces. Not much can be done for these papers after
the fact. There is a product called
“Archival Mist” that is sold, and purportedly can stop the effects of acid (it
contains an alkaline buffer). It is very
expensive and I don’t know how well it works, but am doubtful. The best paper for art is “rag” paper, made
from 100% cotton (I suppose it used to be rags!). This contains no acid and should last for
hundreds of years under good conservation framing. All the better and best drawing and
watercolor papers are rag papers. I use
mostly Arches watercolor paper, which has a 400 year history and is extremely
durable.</span></div>
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<span style="font-size: 10pt;">o<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><u><span style="font-size: 10pt;">As for
matboard</span></u><span style="font-size: 10pt;">, this is another problem in
preserving the integrity of the artwork.
Cheap, “decorator” matboard is a hazard to your artwork because acid
from the matboard can creep into the edge of the art. These matboards are made from wood pulp that
has been neutralized with a calcium carbonate buffer, but eventally the effect
of the buffer wears off. Better to use
either “alpha cellulose” matboard or rag mat board. Alpha cellulose mat board is made from virgin
alpha cellulose wood pulp that has been chemically treated to remove all traces
of acid and lignins. Bainbridge Artcare</span><span style="font-size: 10pt;">®</span><span style="font-size: 10pt;"> and Cresent Select</span><span style="font-size: 10pt;">®</span><span style="font-size: 10pt;"> are two brands of alpha cellulose matboard.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 1in; text-indent: -0.25in;">
<span style="font-size: 10pt;">o<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><u><span style="font-size: 10pt;">Backing board</span></u><span style="font-size: 10pt;"> can create even worse problems than matboard! Plain cardboard or Masonite should never be
placed behind an artwork permanently!
These materials are very acidic and acid will leach into the paper
artwork, eventually discoloring it and making it so brittle it can
crumble. The best practice is to use
acid-free foamcore board behind an artwork.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 1in;">
<span style="font-size: 10pt;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in;">
<span style="font-size: 10pt;">Here are some photographs of a painting we recently
re-framed here at ARThouse. I show you
these as an example of the terrible damage acid can do to framing. Luckily the painting was done on a decent
piece of rag watercolor paper, so it remained intact, although was someone
discolored. The painting and framing was
done in 1960.</span></div>
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<span style="font-size: 10pt;"></span></div>
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<span style="font-size: 10pt;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in 6pt 0.5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">Figure 1</span></i><span style="font-size: 10pt;"> shows the 50 year old watercolor with its original
mat. The glass was incredibly dirty and
had been removed before this photo was taken.
The glass was a heavy window-type glass and had to be discarded. Here you can see the yellowing and acid burn
of the matboard. The inside edges had
turned dark brown (a sure sign of acidity).
The matboard was brittle and crumbling by this time.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8CxmyCEdJ3Q/T-R2hC860HI/AAAAAAAAAys/8jcn2sKfUhM/s1600/painting+by+Bruce+Velsor--covered+with+lighthouse--with+scratches.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="http://2.bp.blogspot.com/-8CxmyCEdJ3Q/T-R2hC860HI/AAAAAAAAAys/8jcn2sKfUhM/s400/painting+by+Bruce+Velsor--covered+with+lighthouse--with+scratches.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1</td></tr>
</tbody></table>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">Figure 2</span></i><span style="font-size: 10pt;"> shows the back
side with its paper dust cover and brown package tape crumbling away. The tape flaked off, but the gray paper
wasn’t too bad.<i style="mso-bidi-font-style: normal;"> </i> Today we would use an acid free backing paper
so that it retains its integrity and is less likely to rip or puncture with
time. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-JuXRus1VAHU/T-R2exHEE0I/AAAAAAAAAyM/ZuWa64PQTHE/s1600/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25282%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://3.bp.blogspot.com/-JuXRus1VAHU/T-R2exHEE0I/AAAAAAAAAyM/ZuWa64PQTHE/s400/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25282%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2</td></tr>
</tbody></table>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">Figure 3</span></i><span style="font-size: 10pt;"> shows the corrugated cardboard backing board
that had been used behind the artwork.
Wow, we certainly would never do this today!! Corrugated cardboard is a terribly acidic
material. Today we would use an
acid-free foam core board. Probably some
of the discoloration of the mat and painting was due to this cardboard.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-XopQ29i87qs/T-R2fXaUw5I/AAAAAAAAAyU/JJ490NikP8w/s1600/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25285%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="317" src="http://1.bp.blogspot.com/-XopQ29i87qs/T-R2fXaUw5I/AAAAAAAAAyU/JJ490NikP8w/s400/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25285%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3</td></tr>
</tbody></table>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">Figure 4</span></i><span style="font-size: 10pt;"> shows the painting as it is taped into the
back of the mat. Here we see a lot of
“no-no’s”. The painting has been taped
all the way around, which is a bad idea because it does not allow for expansion
and contraction of the paper artwork due to humidity changes. It is a better practice to tape it only at
the top. Secondly the tape was extremely
brittle and flaked off because, although plastic, it was not acid-free. Today we would use either linen tape or an
archival acid-free plastic framers tape. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-aDlsvyazhuQ/T-R2f4rrmYI/AAAAAAAAAyc/Ec2MuZoUGCo/s1600/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25289%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="http://2.bp.blogspot.com/-aDlsvyazhuQ/T-R2f4rrmYI/AAAAAAAAAyc/Ec2MuZoUGCo/s400/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%25289%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 4</td></tr>
</tbody></table>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;">Figure 5 shows the back of the
watercolor after it had been taken away from the acidic matboard. The remaining tape is mainly just the glue
part—the black plastic crumbled to dust…
Luckily the painting itself was still in pretty good shape. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-sIcmVteVcAg/T-R2eOjs8II/AAAAAAAAAyE/ODl0Cwy6hH8/s1600/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%252813%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="http://2.bp.blogspot.com/-sIcmVteVcAg/T-R2eOjs8II/AAAAAAAAAyE/ODl0Cwy6hH8/s400/painting+by+Bruce+Velsor+owned+by+Richard+Hastings+%252813%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5</td></tr>
</tbody></table>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> Figure 6 shows the front of the
painting. You can see the acid burn from
the matboard all around the edges. The
painting itself may have darkened with age and the colors may have
changed. It was not protected with UV
glass, so the old pigments used in the 1960’s may have been vulnerable to
fading or darkening if the color was not lightfast. Standards in pigments have improved greatly,
but artists still need to be careful to choose only lightfast colors. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-wddgecKKBYs/T-R2gtGSOVI/AAAAAAAAAyk/rOTMuHoRCEs/s1600/painting+by+Bruce+Velsor+owned+by+Richard+Hastings--masts+erased.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://2.bp.blogspot.com/-wddgecKKBYs/T-R2gtGSOVI/AAAAAAAAAyk/rOTMuHoRCEs/s400/painting+by+Bruce+Velsor+owned+by+Richard+Hastings--masts+erased.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 6</td></tr>
</tbody></table>
<span style="font-size: 10pt;"></span>
<br />
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;">Figure 7 shows the
final re-framed painting. We cut a new
double mat using Bainbridge Artcare alpha cellulose matboard and an acid-free
foam core backing board. Also, the frame
was reused because it was a unique hand-made frame still in good
condition. However the corners were
coming apart because the glue had failed after 50 years, so we re-glued it and
joined it with v-nails. It should now
last for at least 100 years, I would say. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-MVr9MceEMg0/T-R2h2c64KI/AAAAAAAAAy0/C3AoEin-mtQ/s1600/painting+by+Bruce+Velsor--covered+with+lighthouse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="317" src="http://3.bp.blogspot.com/-MVr9MceEMg0/T-R2h2c64KI/AAAAAAAAAy0/C3AoEin-mtQ/s400/painting+by+Bruce+Velsor--covered+with+lighthouse.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 7</td></tr>
</tbody></table>
<div class="MsoCaption">
<span style="font-family: Verdana,sans-serif; font-size: 10pt;"> The painting has not been put under glass
yet, but I would recommend Museum glass for this historical original artwork
because it is valued by the owner.
Museum Glass® by TruVue is both a UV-protective
glass and an anti-reflective glass, and would enhance the painting
tremendously.</span>
</div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;">
The owner was extremely pleased with these improvements! Thank you, Carl, for allowing me to show
these pictures.</span></div>
<div class="MsoListParagraphCxSpLast" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"></span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif; line-height: normal; margin: 6pt 0in;">
<span style="font-size: 10pt;"> I am pleased
to help make you aware of these issues, and would be happy to answer any
questions you have. Please send me an email at </span><a href="mailto:susan@susanavismurphy.com" target="_blank"><span style="font-size: 10pt;">susan@susanavismurphy.com</span></a><span style="font-size: 10pt;">.
Meanwhile, here's hoping your paintings never undergo creeping decomposition!
And that your children and heirs will be always be able to enjoy the paintings
you bought or created when you were younger...<br />
<br />
Susan Murphy, ARThouse, June 13, 2012 </span><br />
<span style="font-size: 10pt;"> [article copyrighted, contact author for permission to reproduce] </span></div>
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</div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com1tag:blogger.com,1999:blog-6861959177651689402.post-8592768864939194102012-06-12T11:51:00.000-04:002013-01-02T08:32:31.898-05:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #c80c55; font-family: Segoe Print,Comic Sans MS,Arial,sans-serif; font-size: 14pt;"><b>What you don't know might hurt you!</b></span> <br />
by Susan Avis Murphy<br />
<div align="left" style="text-align: left;">
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><b> Do you know what is one of the main things to think about when buying a work of art? Longevity</b></span>....<br />
<br />
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;"> By longevity, I mean the durability of the entire artwork over time. Whether the <span style="text-decoration: underline;">pigments are lightfast</span>, whether the support of canvas or<span style="text-decoration: underline;"><u> </u>paper is acid-free</span>, and whether the <span style="text-decoration: underline;">framing is archival</span>.
An original watercolor can remain fresh and safe for hundreds of years
as long as these criteria are met. A watercolor can last without damage
as long or longer than most oil paintings if it is created and kept
under the right conditions. Let me explain.</span></span><br />
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
Standards in the art materials and framing industry have improved
dramatically in the last 20 years. Today's best pigments are thoroughly
labeled as to their lightfastness (resistance to fading) and durability
(resistance to other changes with time). The best paint manufacturers,
such as the English company Winsor & Newton, for example, carry
lightfast pigments in most of their line. But not all. And that is
where the problem can arise. </span></span></div>
<div>
</div>
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
Some paints are not as lightfast as others. For example, a very
commonly used pigment in watercolor is Rose Madder Genuine. This
pigment, however, is considered somewhat "fugitive", ie it will "flee"
or fade over time. </span></span></div>
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
There is a national organization called the ASTM, or American
Society for Testing and Materials. The ASTM conducts lightfastness
ratings for artist pigments, and Rose Madder Genuine only gets a rating
of <span style="font-family: book Antiqua,Palatino;">III</span>. Professional artists should only be using pigments with an ASTM rating or <span style="font-family: Times New Roman,Times;">I</span> or <span style="font-family: Times New Roman,Times;">II</span>. For my own artwork, I only use totally permanent pigments. Also I <span style="text-decoration: underline;">always</span> instruct my students to do the same and put a big emphasis on this...</span></span><br />
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><span style="font-size: 10pt;"><span style="font-size: 12px;">
Take a look at this interesting little chart I created 20 years ago.
This is a segment of a much larger chart I made to test the
lightfastness of all the pigments I currently owned. Strips were
painted, labeled, and then half covered with matboard and placed in a
bright window for two years (about 3 hours sunlight daily). Look what
happened to Purple Lake, Rose Madder, and especially Scarlet Lake! Can
you believe it?!! After this, I threw those tubes of paint away!</span></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-JuABNM6_ZRA/UOQ1YiH9ymI/AAAAAAAABLM/w2aZRDc72jc/s1600/fade+test+old--reds+cropped--website.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-JuABNM6_ZRA/UOQ1YiH9ymI/AAAAAAAABLM/w2aZRDc72jc/s400/fade+test+old--reds+cropped--website.jpg" width="328" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-AfiZR-PVuyk/UOQ1sMdHfLI/AAAAAAAABLU/mAnf4LyfOgU/s1600/fade+test+old--website.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-AfiZR-PVuyk/UOQ1sMdHfLI/AAAAAAAABLU/mAnf4LyfOgU/s640/fade+test+old--website.jpg" width="420" /></a></div>
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><span style="font-size: 10pt;"><span style="font-size: 12px;"> </span> </span></span><br />
<div style="text-align: left;">
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><span style="font-size: 10pt;"> </span></span><span style="color: #323232; font-size: 11pt;"><span style="font-size: 10pt;">
<span style="font-family: Arial,Helvetica,sans-serif;">Once I had a customer tell me about a painting his mother had bought,
with red flowers in it. After two years, the red flowers had
disappeared! Perhaps the artist had used Scarlet Lake!!</span></span></span></div>
<div style="font-family: Arial,Helvetica,sans-serif; text-align: left;">
<span style="font-size: 12px;"><span style="color: #323232;">
Nowadays I continue to test my pigments just to be safe, and also as
way to convince my students of the necessity to pay careful attention to
the lightfastness of their pigments. I have devised (and sell here at
ARThouse) a special "Watercolor Test Sheet" that can be filled in with
all the pigments an artist owns in order to determine their various
properties, including lightfastness. Here is what the sheet looks like
before the artist has painted in the colors:</span></span></div>
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><span style="font-size: 10pt;"></span></span><br />
<span style="color: #323232; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"><span style="font-size: 10pt;"><img alt="Watercolor Test Sheet -- unpainted" data-cke-saved-src="/sites/default/files/imce/color%20chart%20small--blank--website.jpg" src="http://arthouseart.com/sites/default/files/imce/color%20chart%20small--blank--website.jpg" style="height: 350px; width: 450px;" /></span></span><br />
<span style="font-family: arial,helvetica,sans-serif;">Here is an example of the sheet after the blues have been painted:</span><br />
<img alt="Watercolor Test Sheet with blues painted in" data-cke-saved-src="/sites/default/files/imce/watercolor%20test%20sheet--blues--website.jpg" src="http://arthouseart.com/sites/default/files/imce/watercolor%20test%20sheet--blues--website.jpg" style="height: 350px; width: 454px;" /><br />
<span style="font-family: arial,helvetica,sans-serif;">Here is one row of the sheet enlarged:</span><br />
<img alt="" data-cke-saved-src="/sites/default/files/imce/watercolor%20test%20sheet--cobalt%20blue%20strip--600%20pixels.jpg" src="http://arthouseart.com/sites/default/files/imce/watercolor%20test%20sheet--cobalt%20blue%20strip--600%20pixels.jpg" style="height: 138px; width: 500px;" /><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">
Let me explain how the chart works. Each pigment is used for one row,
and painted on with water at a medium value. The <u>first circle</u> is
meant to show the general characteristics of the pigment, especially
granularity (cobalt blue does not granulate very much). The <u>second circle</u>
is used to show the staining vs. lifting characteristics of the
pigment: the circle is painted and then dried, and then the left half is
covered with drafting tape while the right half is scrubbed off (using a
stencil brush) with a fixed amount of water and pressure; this shows
how easily the paint can be removed and whether it is a staining color.
The<u> third circle</u> is sprinkled with table salt while it is still wet, to show the degree of salt effect achievable. The <u>fourth circle</u> contains a little black image so that we can see the degree of transparency vs. opacity of the paint. And last but not least, <u>the rectangle</u>
is used to test the lightfastness of the paint. One half of this
square is covered with dark paper and the sheet is hung in a bright
window for about three months to two years.</span></span><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">Here
is what the larger version looks like with colors painted in and black
strips stapled over the rectangular square for the lightfastness test:</span></span><br />
<img alt="Large size Watercolor Test Sheet -- finished" data-cke-saved-src="/sites/default/files/imce/Watercolor%20Test%20Sheet%20with%20black%20strips--600%20pixels.jpg" src="http://arthouseart.com/sites/default/files/imce/Watercolor%20Test%20Sheet%20with%20black%20strips--600%20pixels.jpg" style="height: 381px; width: 600px;" /><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">
I have found these Watercolor Test Sheets to be extremely useful while I
paint. I use them mainly for choosing colors that I know will be
liftable and not stain the paper, one of my main criteria for
desirability of a watercolor pigment! I also use them to remind myself
of colors I seldom use. And most importantly, I use them to ensure that
my pigments are lightfast. Any color that fades is banished from my
palette forever!</span></span><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;"> You can order a copy of my Watercolor Test Sheet from Amazon.com by going here: <a href="http://www.amazon.com/Watercolor-Creating-Pigments-Showing-Characteristics/dp/B008AW4A24/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1357133452&sr=1-2-catcorr&keywords=watercolor+test+sheet" target="_blank">Watercolor Test Sheet</a> </span></span><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">
There are several commonly used pigments that I would be wary of, if I
were you. In the Winsor & Newton line, be careful of Rose Madder
Genuine and Alizarin Crimson, which get a "B" grade using the company's
own rating system, equivalent to a III in ASTM terms. These colors <u>will </u>change
with time. In the Holbein line, be wary of their four colors beginning
with the words "Bright" or "Brilliant": Bright Violet, Bright Rose,
Brlliant Pink, and Brilliant Orange. The company admits that these
colors contain a flourescent dye, which glows upon exposure to light and
makes the pigment look brighter. The problem with this is that the
flourescence involves a chemical reaction which decays over time,
rendering the pigment much less bright than it was originally!</span></span><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">
As an artist or also an art collector, I would be very wary of collage
materials whose sources are questionable. For example, magazine paper
used as collage, photographs, colored tissue paper, or rice papers from
unreliable sources could all be extremely fugitive. The colors you love
in that painting when you buy it may not be there two years later!
Also many of these materials are not acid-free and will become brittle
and decay with time. Additionally, the glue used may yellow and
suddenly show up like a sore thumb! Ask the artist if they are
confident in the longevity of their materials before buying. I hate to
say this, but hopefully it will make them more aware and more
responsible...</span></span><br />
<span style="font-size: 12px;"><span style="font-family: arial,helvetica,sans-serif;">
Is there anything you can do to preserve the artwork's colors if you
are not sure about their lightfastness? Yes, you can frame the picture
under "UV glass" or Museum Glass (made by TruVue). Visit the picture
framing section of my website for a discussion of these types of glass: <a href="http://arthouseart.com/node/53" target="_blank">info about picture framing glass</a>. Museum Glass is a wonderful product, because not only will it
protect the picture from ultraviolet radiation, but also this glass has
an anti-reflective coating (an optical coating like the type put on
lenses) that makes the glass seem almost invisible. </span></span><br />
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
The bottom line is that artists need to be very careful about the
pigments they use, and art buyers need to be careful that the artists
they buy from are using lightfast paints! Here I can say with absolute
confidence that the pigments I have been using for the last 20 years are
truly lightfast and will stand the test of time... I thank my lucky
stars that I can say this!</span></span><br />
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;"> For artists reading this, there is an excellent book on the subject, <i>The Michael Wilcox Guide to the Finest Watercolor Paints</i> by Michael Wilcox (latest version is around c2002). Buy this book and consider it your Bible. See the link in the sidebar at right to order this book from Amazon.</span></span><br />
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
One last comment. Oil paintings are not necessarily more lightfast
than watercolors. Oil pigments can suffer from the same lightfastness
problems, although the oil binder helps make them a little more
resistant to fading. The same is true for acrylics.</span></span></div>
<div>
<span style="font-size: 12px;"> </span></div>
<div>
<span style="font-size: 12px;"><span style="color: #323232; font-family: Arial,Helvetica,sans-serif;">
I am pleased to help make you aware of this issue, and would be happy
to answer any questions you have. Please leave your comments here and I will gladly respond.
Meanwhile, here's hoping your paintings never flee! And that your
children and heirs will be always be able to enjoy the paintings you
bought when you were younger...<br /><br />Susan Murphy, ARThouse, June 11, 2012 </span></span></div>
</div>
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Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com3tag:blogger.com,1999:blog-6861959177651689402.post-70188509725774877272012-05-15T06:14:00.001-04:002012-05-15T06:51:12.267-04:00Award winners at our studio show The Art of Watercolor<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Brenda Kidera</td></tr>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #4f81bd; font-family: "Arial","sans-serif"; font-size: 16pt;">Awards: </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #4f81bd; font-family: B650-Deco; font-size: 16pt;">The Art of Watercolor </span></b></div>
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<b><span style="color: #4f81bd; font-family: B650-Deco; font-size: 16pt;"> </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";">May 12 – August 19 2012 </span></b></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12pt;">Our awards judge for the show was Brenda Kidera from
Woodbine, Maryland, an admired and respected painter and former board member of
the Baltimore Watercolor Society. Here are the awards she decided
upon: (awards are gift certificates to ARThouse, to be used for any
purpose)<br />
<br />
1st Place: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Barbara Scheihing for “Roots”</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
2nd Place: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Mimi Hegler for “Kitchen Staples”</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
3rd Place: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Cecile Kirkpatrick for “Beets, Carrots, and Asparagus”
</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
<br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Janet M. Epstein for
“Rooted Matter”</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Ren</span><span style="font-family: "Calibri","sans-serif"; font-size: 12pt;">é</span><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">e Moneyhun for “Abstract
with Two Suns”</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Sally Drew for “Rocks
and Roots”</span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Linda Daniels for “Lirio
de Agua” </span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Jean Perretta for
“Hiawatha” </span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
Honorable Mention: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Tanya Rostovtseva for
“St. Sebastian” </span></b><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><br />
<br />
Brenda was very impressed with the overall quality of work. She said that
choosing award winners was very difficult and that it took a long time and a
lot of serious thought! Judging was
based mainly on technical ability and there were many other worthy
paintings. I thank Brenda Kidera for her kind and careful attention
to the job at hand!<br />
<br />
Congratulations to the award winners!
--Susan Murphy, ARThouse, May 12, 2012<br style="mso-special-character: line-break;" />
</span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 12pt;">Here are all the award winners, with Brenda's comments below each image: </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-X2GzZ01xDSA/T7IqlqlEHbI/AAAAAAAAAxM/3ESRaB0hGSY/s1600/barbara+scheilhing--onions+carrots+radishes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://1.bp.blogspot.com/-X2GzZ01xDSA/T7IqlqlEHbI/AAAAAAAAAxM/3ESRaB0hGSY/s400/barbara+scheilhing--onions+carrots+radishes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><b>1st Place:</b> </span><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Barbara Scheihing for “Roots”</span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">This still life has a great composition, exhibits
confident handling of the paint, has a nice variation of color and value within
shapes, and a lovely background with wonderful subtle texture. Well done!</span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-8N2pV91QqXk/T7IqjxZJVuI/AAAAAAAAAw8/K7x5jHXulSM/s1600/Mimi+Hegler--Still+Life+with+Mason+Jar+and+Onions.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="302" src="http://1.bp.blogspot.com/-8N2pV91QqXk/T7IqjxZJVuI/AAAAAAAAAw8/K7x5jHXulSM/s400/Mimi+Hegler--Still+Life+with+Mason+Jar+and+Onions.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 12pt;"><b>2nd Place:</b> </span><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Mimi Hegler for “Kitchen Staples” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">I was immediately struck by the strong graphic
shapes. I love the edge quality. The color palette is beautiful, with
repetition of colors throughout the painting.
Nice confident handling of the paint; great use of the white paper in
the highlights; uses the full value scale which makes the scene dynamic.</span></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-jkCqBvYkRYk/T7IqgkekG9I/AAAAAAAAAws/9ZUxMPh7trk/s1600/Cecile+Kirkpatrick--beets+and+asparagus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="306" src="http://4.bp.blogspot.com/-jkCqBvYkRYk/T7IqgkekG9I/AAAAAAAAAws/9ZUxMPh7trk/s400/Cecile+Kirkpatrick--beets+and+asparagus.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Third Place: Cecile Kirkpatrick for “Beets, Carrots, and Asparagus”
</span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Lovely, delicate handling of paint, values and shapes,
especially in the asparagus; nice full range of values; interesting composition. [photo is inaccurate—painting now has dark
background—sm]</span></div>
</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-splrD4PY0oM/T7Iqmbbd6TI/AAAAAAAAAxU/jFGCYaoPcJ8/s1600/janet+epstein--bulbs+and+roots.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://3.bp.blogspot.com/-splrD4PY0oM/T7Iqmbbd6TI/AAAAAAAAAxU/jFGCYaoPcJ8/s400/janet+epstein--bulbs+and+roots.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Janet M. Epstein for
“Rooted Matter” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Wonderful abstracted interpretation of roots! Great handling of color and shape; nice range
of values.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-m0dSRb_NkM4/T7Iqi0xmdQI/AAAAAAAAAw0/dSUz4DWUyE0/s1600/IMG_2545.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="197" src="http://2.bp.blogspot.com/-m0dSRb_NkM4/T7Iqi0xmdQI/AAAAAAAAAw0/dSUz4DWUyE0/s200/IMG_2545.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Linda Daniels for “Lirio
de Agua” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">I love this quiet, subtle painting with the shapes
emerging and receding. Lovely colors and
use of the rice paper.</span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/--4oir0xETsY/T7IqlKP68TI/AAAAAAAAAxE/uwIk0vHHCv0/s1600/_MG_1992.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/--4oir0xETsY/T7IqlKP68TI/AAAAAAAAAxE/uwIk0vHHCv0/s400/_MG_1992.jpg" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Tanya Rostovtseva for
“St. Sebastian” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Excellent lifting and modeling of the figure. Love the color palette and positioning of the
figure in the composition.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-SLI2ajb2C8c/T7IqpQqJhVI/AAAAAAAAAxs/IXOmtWN-xIQ/s1600/sally+drew--rooting+bulbs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-SLI2ajb2C8c/T7IqpQqJhVI/AAAAAAAAAxs/IXOmtWN-xIQ/s400/sally+drew--rooting+bulbs.jpg" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Sally Drew for “Rocks
and Roots” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Nice handling of the paint, especially in the shadow
areas. You’ve been successful in keeping
these dark areas interesting, lively, and most of all, not muddy. A subtle lifted swash of light across the
glass on the side would be nice. Lovely
handling of paint -- letting the colors float together without forcing it with
the brush.</span></div>
</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HBr3mF_Hyw4/T7IqnEFLbcI/AAAAAAAAAxc/qnToEwKGlqg/s1600/jean+perretta--hiawatha.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-HBr3mF_Hyw4/T7IqnEFLbcI/AAAAAAAAAxc/qnToEwKGlqg/s400/jean+perretta--hiawatha.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Jean Perretta for
“Hiawatha” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Very nice handling of the colors, working in conjunction
with the poured background. I especially
like the use of turquoise darks in the few chosen spots. The pencil lines have a nice varied quality,
light into dark, coming and going, which work well.</span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bPMzjfvbgqc/T7IwtWqhsbI/AAAAAAAAAx4/C1r91VXkk0A/s1600/_MG_1530--blog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="http://1.bp.blogspot.com/-bPMzjfvbgqc/T7IwtWqhsbI/AAAAAAAAAx4/C1r91VXkk0A/s400/_MG_1530--blog.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Honorable Mention: Ren</span><span style="font-family: "Calibri","sans-serif"; font-size: 12pt;">é</span><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">e Moneyhun for “Abstract
with Two Suns” </span></b>
<br />
<div class="MsoNormal" style="margin: 6pt 0in; text-align: left; text-indent: 0.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Nice composition with interesting and successful color
choices; good value range and use of whites and black. I especially like the variation of texture,
color and value in the “green” area—would like to see a bit more of this pushed
in a few other areas.</span></div>
</td></tr>
</tbody></table>
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<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 6.0pt; text-indent: .5in;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Thanks for inviting me to jury this excellent show!</span></b></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 6.0pt; text-indent: .5in;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 11pt;">Brenda Kidera, at
ARThouse, May 10, 2012</span></b></div>
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</div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com4tag:blogger.com,1999:blog-6861959177651689402.post-2863791563645798612012-04-26T14:14:00.000-04:002012-04-27T07:22:05.281-04:00A rustic kitchen still life in watercolor -- painting "Hearth Spoons"<div dir="ltr" style="text-align: left;" trbidi="on">
This past week in our Still Life in Watercolor class, we painted old earthy-looking found objects, such as jugs on a bench, old kitchen utensils, and old door latches and hinges. The idea was to find rusty, textured objects and materials that would lend themselves to watercolor techniques that yield lots of texture. For my demonstration painting, I choose the image below, which is a photo of old wrought-iron and brass kitchen ladles hanging in front of a hearth. The photo was actually taken at Colonial Williamsburg in Virginia about 30 years ago! (I hang on to my reference photos forever--you never know when you might need them!).<br />
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<a href="http://4.bp.blogspot.com/-Pi5m4GKXUoE/T5l65eSmaHI/AAAAAAAAAuw/UMw7zuRd_Vc/s1600/scan0435c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="http://4.bp.blogspot.com/-Pi5m4GKXUoE/T5l65eSmaHI/AAAAAAAAAuw/UMw7zuRd_Vc/s400/scan0435c.jpg" width="400" /></a></div>
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Step 1. I did this painting on a half sheet of stretched Arches 140 lb cold-press. First I created a 13x20" template of the image on cheap paper using my printer, and I used this to trace the complicated image onto the watercolor paper using Saral graphite transfer paper. Then I went over the drawing with an 01 brown Micron pen, which is indelible and will not come off with a lot of wetting. I am going to use my special "rivulet technique" for this painting to create an interesting textured underpainting, and I don't want my whole drawing to wash off!<br />
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<a href="http://3.bp.blogspot.com/-W7ECF46WMvs/T5l6vr3TkYI/AAAAAAAAAtg/3qBP6dfsSdM/s1600/hearth+spoons--step+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="http://3.bp.blogspot.com/-W7ECF46WMvs/T5l6vr3TkYI/AAAAAAAAAtg/3qBP6dfsSdM/s400/hearth+spoons--step+1.jpg" width="400" /></a></div>
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Step 2. Now I created my background wash. This is a special technique I devised about 30 years ago when doing paintings of construction rubble. I mix up a large pool of raw umber to about a heavy cream consistency and paint it all over the paper. Usually I intersperse a few other colors during this process, keeping the whole sheet wet all the while. Then I hold the board vertically, and spray water on this raw umber wash, making the paint run down the page and form interesting channels and "rivulets". Students in my classes have seen this technique, and unfortunately I don't have a photo showing the whole process, but here are the end results:<br />
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<a href="http://3.bp.blogspot.com/--r3VgiXjkaw/T5l6wgBURsI/AAAAAAAAAto/q5YGkLqgfNk/s1600/hearth+spoons--step+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="http://3.bp.blogspot.com/--r3VgiXjkaw/T5l6wgBURsI/AAAAAAAAAto/q5YGkLqgfNk/s400/hearth+spoons--step+2.jpg" width="400" /></a></div>
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Step 3. I decided that since these were Early-American kitchen tools, I would give the painting a muted red, white, and blue theme to suggest "Americana". I might even incorporate an object in place of the metal chain on the right to suggest something purely American and from the hearth and home. Got to think about that! Here I have begun glazing in some background colors, using Winsor & Newton brown madder on the left and cobalt blue on the right. These are transparent colors that will allow the textured background wash to show through. All the colors I will be using in this painting are "liftable" (i.e. they are not staining colors), which will allow me to come back with a stencil brush after they are dry and lift out any shapes I want. You have tremendous flexibility with this approach. <br />
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<a href="http://4.bp.blogspot.com/-gztTwj-BF7U/T5l6zFJi1UI/AAAAAAAAAtw/IIwXjKMNEm4/s1600/hearth+spoons--step+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="http://4.bp.blogspot.com/-gztTwj-BF7U/T5l6zFJi1UI/AAAAAAAAAtw/IIwXjKMNEm4/s400/hearth+spoons--step+3.jpg" width="400" /></a></div>
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Step 4. Here I have added a third large wash using a mixture of cobalt blue and permanent violet. I like to tint and "tame" all of the raw umber portions of the picture, because I find that the raw umber alone is sometimes a little harsh. By applying these large washes very gently, I avoid lifting up the underlying raw umber.<br />
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<a href="http://1.bp.blogspot.com/-J7yhlY17PRE/T5l60MfOV_I/AAAAAAAAAt4/dJBF0mP03pE/s1600/hearth+spoons--step+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="http://1.bp.blogspot.com/-J7yhlY17PRE/T5l60MfOV_I/AAAAAAAAAt4/dJBF0mP03pE/s400/hearth+spoons--step+4.jpg" width="400" /></a></div>
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Step 5. Now for the fun part. I have begun lifting out color to bring out shapes. All of the spoon shapes are going to be created this way because they are actually lighter than the background. Using a natural bristle stencil brush (normally used for applying paint to stencils) and a little water, I gently scrub away the paint and then immediately blot with a paper towel. To get a harder edge around my objects, I surround the shape with pieces of 3M drafting tape. Here I first selectively removed paint from the spoons to suggest their shiny surface, and then I went back and tinted them with yellow.<br />
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<a href="http://3.bp.blogspot.com/-LzPapdtZb10/T5l604OHI3I/AAAAAAAAAuA/cvQl_lbA1VU/s1600/hearth+spoons--step+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="http://3.bp.blogspot.com/-LzPapdtZb10/T5l604OHI3I/AAAAAAAAAuA/cvQl_lbA1VU/s400/hearth+spoons--step+5.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-NTmXoIf7Huc/T5mFGGFMP3I/AAAAAAAAAu8/xWOiXWf5Wm8/s1600/img_2478.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="http://3.bp.blogspot.com/-NTmXoIf7Huc/T5mFGGFMP3I/AAAAAAAAAu8/xWOiXWf5Wm8/s400/img_2478.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A few of my favorite stencil brushes--sometimes I take an ordinary taklon brush and give it a "crew cut", like the pink one and the narrow brush on the bottom. OK, OK, the top one is actually a make-up brush!</td></tr>
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Step 6. You will notice in the original photograph that part of the fireplace is painted white, which makes the tools stand out nicely against it. Sometimes I use titanium white in these pictures, but in a semi-transparent way so that the rivulets will show through. That is what I have done here, starting with the white part on the left. Later I will finish this wall if it seems to be working well. Meanwhile, I continued painting more of the tools in the same manner, using drafting tape to define the edges and then lifting out the paint with a small stencil brush, then tinting the area with the appropriate color. You can get almost down to the white of the paper with this technique, as long as you are not using staining colors. For a list of all the paints I have on my palette, showing which ones are staining, visit my website at: <a href="http://arthouseart.com/node/76" target="_blank">Susan Murphy supply list</a><br />
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<a href="http://2.bp.blogspot.com/-pxQkxgs2src/T5l62Y2NsPI/AAAAAAAAAuQ/blyMSXeueyc/s1600/hearth+spoons--step+7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="http://2.bp.blogspot.com/-pxQkxgs2src/T5l62Y2NsPI/AAAAAAAAAuQ/blyMSXeueyc/s400/hearth+spoons--step+7.jpg" width="400" /></a></div>
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Step 7. Making progress on lifting out all the handles. It can be slow work but is kind of fun. You feel confident that you are creating good shapes and you have a great deal of control, something which is difficult in watercolor.<br />
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<a href="http://3.bp.blogspot.com/-CmWLFt0XtWg/T5l63egW9ZI/AAAAAAAAAuY/6_2lZIWFXR4/s1600/hearth+spoons--step+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="http://3.bp.blogspot.com/-CmWLFt0XtWg/T5l63egW9ZI/AAAAAAAAAuY/6_2lZIWFXR4/s400/hearth+spoons--step+8.jpg" width="400" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">this is a close-up of the above so you can see the rivulet wash better</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">a close-up of the spoons</td></tr>
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Step 8. Here I have expanded the dark background (it is actually inside the fireplace) and added more darks. I'm afraid this is as far as I have gotten at this point, and will have to show you the finished painting later! Colors used in this painting so far are Winsor & Newton raw umber, cobalt blue, brown madder, aureolin, titanium white, French ultramarine, and Holbein verditer blue, permanent violet, and neutral tint. I hope you get to do a "rustic still life" and if you do, please stop by and show it to me!<br />
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<b>Announcement: </b> </div>
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We are having a fabulous exhibit of paintings by my students, called
"The Art of Watercolor", which will include dozens of beautiful
paintings. See your
invitation below! The grand Opening Reception is the weekend of May 12 and 13 (Mother's Day Weekend) and the show continues through August 19th. You will be inspired by dozens of paintings from the still life class, figure class, and abstract class. Come and enjoy the artwork, elegant refreshments, and good conversation. There will be a door prize (one of my framed giclee prints) and admission is FREE! (well, isn't it always?...) Hope you can come!<br />
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<br /></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com2tag:blogger.com,1999:blog-6861959177651689402.post-19995486503162427712012-03-23T16:54:00.001-04:002012-03-23T18:48:33.794-04:00Painting plant roots in watercolor: Rooting Spider Plant<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-SI8eTuR4jBw/T2zgLDJHGgI/AAAAAAAAAtA/-dsmRSRGEBI/s1600/spider+plant+step+14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="http://4.bp.blogspot.com/-SI8eTuR4jBw/T2zgLDJHGgI/AAAAAAAAAtA/-dsmRSRGEBI/s320/spider+plant+step+14.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Avis Murphy <i>Rooting Spider Plant </i> image 10x14"</td></tr>
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What houseplant can be propagated faster by rooting than the spider plant?! I had a little spider plant offshoot that was wanting to grow roots, so I stuck it in a small glass vase and three weeks later I had a profusion of beautiful roots for still life painting! Here is my original photo for this painting. The spider plantlet was placed on a black fleece blanket on top of a table in bright indirect light. I used the dark gray background in order to bring out the brightness of the greens and any subtle colors, like pinks, among the roots.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-VBHMdx_sEhI/T2slcR9CGZI/AAAAAAAAApY/9psq_Uevi-E/s1600/spider+plant--original+photo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://2.bp.blogspot.com/-VBHMdx_sEhI/T2slcR9CGZI/AAAAAAAAApY/9psq_Uevi-E/s320/spider+plant--original+photo.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant Roots original photo</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Step 1. I created an 8.5x11" black and white template on plain copy paper, and traced the image using Saral graphite transfer paper onto a quarter sheet of Arches 140 lb cold-pressed paper.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3N11g5C2Vf8/T2smPk7pUUI/AAAAAAAAApg/f93iOnmaG6Q/s1600/spider+plant+step+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="http://4.bp.blogspot.com/-3N11g5C2Vf8/T2smPk7pUUI/AAAAAAAAApg/f93iOnmaG6Q/s320/spider+plant+step+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 1</td></tr>
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Step 2. I masked only the brightest white spots with Daler-Rowney masking fluid, using my 50% ammonia trick to keep the brush from getting gummed up. I will tell you more about my discovery concerning masking fluid in the next post...<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-9DaGeRdriqg/T2smQw-rCoI/AAAAAAAAApw/K-k9VL36AEw/s1600/spider+plant+step+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="http://2.bp.blogspot.com/-9DaGeRdriqg/T2smQw-rCoI/AAAAAAAAApw/K-k9VL36AEw/s320/spider+plant+step+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 2</td></tr>
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Step 3. Next I propped the painting about 2" high using a box of waxed paper, and I mixed up a large puddle of ultramarine blue with Hansa yellow and brown madder. My intention was to create an interesting granulating gray color. I painted the entire background in one large wash, keeping the paper quite wet so that backruns would not form. By propping up the board and always working off the bead of water at the bottom of the wash, you can keep the wash from forming back-runs. Do not go back up and touch with water any parts near the upper half that are beginning to dry...
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-YSXPyjSYw_U/T2smRlt-QRI/AAAAAAAAAp4/s7aQ-Y6_KmQ/s1600/spider+plant+step+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="http://2.bp.blogspot.com/-YSXPyjSYw_U/T2smRlt-QRI/AAAAAAAAAp4/s7aQ-Y6_KmQ/s320/spider+plant+step+3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 3</td></tr>
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Step 4. The background wash came out bluer than I had intended. I will be going over the entire background again later. Meanwhile, I started painting the leaves and colors in the water-filled vase. I exaggerated a little any colors that I saw there (look back at the reference photo). This is an exercise in negative painting since the roots are not masked out.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Lq0Q6ubyykc/T2smS059f6I/AAAAAAAAAqA/tnVrFPusr28/s1600/spider+plant+step+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="http://3.bp.blogspot.com/-Lq0Q6ubyykc/T2smS059f6I/AAAAAAAAAqA/tnVrFPusr28/s320/spider+plant+step+4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 4</td></tr>
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Step 4. I continued with the leaves, making them bright and a yellow-green color so that they would be as bright as possible. I washed in some yellow and ivory color for the roots, with a tinge of pink; painted more of the water (fairly dark since refraction is intensifying the color). I started darkening the whole background with another wash of the same mixture, this time with more brown madder in it. Since it would be hard to do that entire wash at one time, I stopped at the bottom and added some water to create a soft edge. I can pick up there again later...<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-62LAVMAnxu8/T2smUZnf-CI/AAAAAAAAAqQ/-AbI_hPvWEs/s1600/spider+plant+step+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="230" src="http://1.bp.blogspot.com/-62LAVMAnxu8/T2smUZnf-CI/AAAAAAAAAqQ/-AbI_hPvWEs/s320/spider+plant+step+6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 5</td></tr>
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Step 6. Here I have painted more of the roots. First, though, I masked the smallest root hairs so that they would stand out against the thicker roots (could have done this in the beginning). See the detail right below. Also you can click on one image and they will all open up larger in another window.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-YptQqmeYYQk/T2smVCYbDoI/AAAAAAAAAqY/j53Zk6MHhWc/s1600/spider+plant+step+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="http://3.bp.blogspot.com/-YptQqmeYYQk/T2smVCYbDoI/AAAAAAAAAqY/j53Zk6MHhWc/s320/spider+plant+step+7.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 6</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-hoTmsm63XgA/T2smV2dpQnI/AAAAAAAAAqg/ySgmv_Grk6U/s1600/spider+plant+step+8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-hoTmsm63XgA/T2smV2dpQnI/AAAAAAAAAqg/ySgmv_Grk6U/s320/spider+plant+step+8.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 6 close-up</td></tr>
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Step 7. Here I have added more darks and negative painting among the roots. Also I have added two dark shadows on the right, representing rolls in the blanket.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-U6o4v2jI0uo/T2smW7qs7nI/AAAAAAAAAqo/vxEIF6F-WJg/s1600/spider+plant+step+9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="http://4.bp.blogspot.com/-U6o4v2jI0uo/T2smW7qs7nI/AAAAAAAAAqo/vxEIF6F-WJg/s320/spider+plant+step+9.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 7</td></tr>
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Step 8. And now I have added a few more details among the roots and leaves. Also I used a stencil brush to lift out the bright little spot of light on the blanket. Plus I glazed the large open space on the right with a watery mixture of blue to suggest more about the roll in the blanket.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/--fkAlx0pym4/T2smkj3PvFI/AAAAAAAAAqw/YGKhMOGowgE/s1600/spider+plant+step+10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="234" src="http://4.bp.blogspot.com/--fkAlx0pym4/T2smkj3PvFI/AAAAAAAAAqw/YGKhMOGowgE/s320/spider+plant+step+10.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 8</td></tr>
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Step 9. I have been bothered a bit by the shape of the dark shadow in the back, so I decided to alter it. I used a large soft stencil brush to lift some of the paint under the leaves on the right, and re-orient the shadow so it looks more diagonal. Also I lifted off the diagonal shape in the upper right edge and will paint it brown. I also have been bothered by the large boring gray space under the leaves, and decided to add another element to the picture, namely a baby spider plant branching off (the suggestion of my student, Betsy Thomas!). I can add anything I want, because all my paint is of the "liftable" variety--i.e., I do not use staining colors. More in the next step...<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wJrShzYnDN0/T2zgfEQFbuI/AAAAAAAAAtI/yqZlnG6OfUo/s1600/spider+plant+step+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="234" src="http://3.bp.blogspot.com/-wJrShzYnDN0/T2zgfEQFbuI/AAAAAAAAAtI/yqZlnG6OfUo/s320/spider+plant+step+11.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 9</td></tr>
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Step 10. To find a little reference photo for my baby spider plant, I Googled "spider plant images" and came up with hundreds of photos! I choose a good one just to look at a little as a reference. First I had to remove the gray paint. So I drew in my baby plant with pencil, then surrounded it with 3M drafting tape to mask the edges, and lifted off the paint with a small stencil brush. It took a while.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UQBc4yO_Cho/T2zgJIJH0WI/AAAAAAAAAsw/48MHn-Q8vNE/s1600/spider+plant+step+12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="http://3.bp.blogspot.com/-UQBc4yO_Cho/T2zgJIJH0WI/AAAAAAAAAsw/48MHn-Q8vNE/s320/spider+plant+step+12.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spider Plant step 10</td></tr>
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Step 11. After the new cleared area was dry, it was quite simple to paint in my baby spider plant. I also worked on the water drops and reflections of the window panes that are in the vase. Here is the final painting. Voila! Feel free to tell me what you think by commenting on the blog. Next posting will be about the painting of the "Rooting Tulip Bulbs"!<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-SI8eTuR4jBw/T2zgLDJHGgI/AAAAAAAAAtA/-dsmRSRGEBI/s1600/spider+plant+step+14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="http://4.bp.blogspot.com/-SI8eTuR4jBw/T2zgLDJHGgI/AAAAAAAAAtA/-dsmRSRGEBI/s320/spider+plant+step+14.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Avis Murphy <i>Rooting Spider Plant</i> 10x14"</td></tr>
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<br /></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com19tag:blogger.com,1999:blog-6861959177651689402.post-5525661164861386222012-03-19T09:50:00.004-04:002012-03-19T20:08:05.035-04:00Still life paintings done by students at the ARThouse Studio School<div dir="ltr" style="text-align: left;" trbidi="on">
We are well along in our <i>Still Life in Watercolor</i> course, and I have many excellent results from students to show you this week. The paintings below are based on assignments (painted at home) such as:<br />
<ul style="text-align: left;">
<li>Painting a shiny object</li>
<li>Painting a transparent object</li>
<li>Vegetables and fruit</li>
<li>Painting a table setting in a loose, painterly style</li>
</ul>
Students have either created their own set-ups, and then photographed them or painted from life. Or they have worked from a reference photo provided by me, such as the "shiny little creamer", the "gardenia in a glass vase", or the "Blu' Island Bistro breakfast". Tell us what you think by making a comment at the bottom!<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-o8o5rGOK9U4/T2fKRmPghEI/AAAAAAAAApE/34DLi2DoLD4/s1600/gloria+tanton--lenten+roses.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-o8o5rGOK9U4/T2fKRmPghEI/AAAAAAAAApE/34DLi2DoLD4/s320/gloria+tanton--lenten+roses.jpg" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gloria Tanton <i> Lenten Roses</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Angela Lacy <i>Gardenia </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ann Williams <i>Shiny Creamer </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jean Perretta <i>Shiny Creamer</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Patty Corridon <i>Shiny Creamer</i></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sue Adams <i>Shiny Creamer</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Susan Wittenberg <i>Shiny Creamer</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Beth Dugan <i>Shiny Objects</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Meredith Ramsay <i>Silver Cup</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mimi Hegler <i>Silver Pot and Shells</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Angela Lacy <i>Still Life with Tulips</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ann Williams <i>Breakfast at Blu' Island</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Cecile Kirkpatrick <i> Fruit and Flowers and Blu' Island</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gregory Keating <i>Flowers and OJ at Blu' Island</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Susan Taylor <i> Fruit and Grits at Blu' Island Bistro</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ruth Sentelle <i>Fruit and Grits for Breakfast</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Nancy Preuss <i>Still Life with Fruit and Flowers</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mimi Hegler <i>Ducky Teapot and Strawberries</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Phyllis McElmurry <i>Ceramic Jug and Fruit</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Toni Tiu <i>Mums and Mugs at Blu' Island Bistro</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sally Drew <i> Peppers at the Farmer's Market</i> </td></tr>
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<br /></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com3tag:blogger.com,1999:blog-6861959177651689402.post-35110008302932646802012-03-09T11:01:00.000-05:002012-03-09T11:01:05.104-05:00Painting vegetable still life--beets and carrots on a cutting board<div dir="ltr" style="text-align: left;" trbidi="on">
Hi Folks!<br />
I'm glad you are enjoying my blog--I have been getting a lot of positive feedback! Please feel free to comment even if you are not part of the class.<br />
This past week we tried our hand at painting vegetable still life. I went to the grocery store <i>Roots</i>, and purchased some fresh beets with their greens still on, plus farm-fresh carrots, onions and large mushrooms. Took them home and set up some still lifes. I had to play around a lot with the arrangements of objects and the lighting, and took about 60 photos. Here is the reference photo I finally selected for my first painting, where the beets were placed on a dish towel and cutting board in front of a window with bright indirect light. I like the back lighting and creates a white rim around the leaves and the top of the beets!<br />
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<a href="http://2.bp.blogspot.com/-0E9IUb8r9EM/T1oYMLke0OI/AAAAAAAAAkc/BGb0PU5X-JM/s1600/beets+and+carrots--original+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://2.bp.blogspot.com/-0E9IUb8r9EM/T1oYMLke0OI/AAAAAAAAAkc/BGb0PU5X-JM/s400/beets+and+carrots--original+photo.jpg" width="400" /></a></div>
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Step 1. <i>Beets and Carrots</i> was painted on a piece of 16x20" bright white Arches 140 lb cold-pressed paper stretched on a washed Homasote board. I traced the image onto the paper using graphite transfer paper and a light gray template I made on my printer. No apologies for not drawing it free-hand! But for students who need to improve their drawing skills I would always encourage you to draw the image on tracing paper first and then transper it to the watercolor paper using the graphite paper if you wish.<br />
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<a href="http://4.bp.blogspot.com/-Yu0lMuEuIbw/T1oYMs6OIzI/AAAAAAAAAkk/l7kQFUmjBZo/s1600/beets+and+carrots--step+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="http://4.bp.blogspot.com/-Yu0lMuEuIbw/T1oYMs6OIzI/AAAAAAAAAkk/l7kQFUmjBZo/s400/beets+and+carrots--step+1.jpg" width="400" /></a></div>
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Step 2. I decided to use a somewhat limited palette for most of this painting. Using three primary colors that blend well together, I was able to do almost the entire painting. They were Winsor & Newton quinacridone red, cobalt blue medium, and Da Vinci hansa yellow (an arylide yellow such as Winsor yellow from W&N). I also used cerulean blue combined with the same yellow to get some of the bright greens. Ultimately I put in a very dark background using darker colors which I will describe later. Here I started the beet leaves with mixed greens (sounds like a salad!) and painted the middle beet with quinacridone red mixed with cobalt blue. I allowed the colors to blend on the paper and allowed back-runs (some people call them "blooms") to form on purpose to create the texture of the beet skin.<br />
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<a href="http://2.bp.blogspot.com/-wNjRtfB8Uj4/T1oYNyESTqI/AAAAAAAAAk0/aMRF5ssYp2Y/s1600/beets+and+carrots--step+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="http://2.bp.blogspot.com/-wNjRtfB8Uj4/T1oYNyESTqI/AAAAAAAAAk0/aMRF5ssYp2Y/s400/beets+and+carrots--step+2.jpg" width="400" /></a></div>
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Step 3. Notice I left white edges around the beet greens to suggest the rim lighting. I painted the carrot with quin red and arylide yellow (a very bright yellow). I started painting the dish towel shadow parts with a very light mixture of my three primaries. When painting shadows on a patterned surface like fabric, it is always best to paint all the shadows first before you paint the pattern. If you paint the shadows after the pattern, your pattern might run.<br />
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<a href="http://4.bp.blogspot.com/-tGPAPinbw-Q/T1oYORJLVtI/AAAAAAAAAk8/KxH6ZSpHXqg/s1600/beets+and+carrots--step+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="http://4.bp.blogspot.com/-tGPAPinbw-Q/T1oYORJLVtI/AAAAAAAAAk8/KxH6ZSpHXqg/s400/beets+and+carrots--step+3.jpg" width="400" /></a></div>
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Step 4. Continuing with another beet and it's greens. Try to get a lot of variety in your greens. If you mix your greens instead of using a green pigment, it will encourage more variety. I did end up using some W & N perylene green for some of the darkest greens here. Also I often injected a little quin red into my green washes for variety. The veins are a nice dark red, so they were easy to paint on after the greens dried using a rigger. Negative painting between the beet stalks brought out their shape.<br />
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<a href="http://2.bp.blogspot.com/-srMsepbyPQc/T1oYO_WUp6I/AAAAAAAAAlE/DobNt3nBdCo/s1600/beets+and+carrots--step+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="http://2.bp.blogspot.com/-srMsepbyPQc/T1oYO_WUp6I/AAAAAAAAAlE/DobNt3nBdCo/s400/beets+and+carrots--step+4.jpg" width="400" /></a></div>
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Step 5. Moving on to the cutting board here. For this I used quinacridone gold with blues and red mixed in. I am not going to duplicate much of the wood grain. I have seen very few watercolors where people successfully duplicate wood grain, and have come to feel that it is best to merely suggest it a little bit... Will do more to the cutting board later. In the early stages of a painting, I am using just getting down the local color of the objects with the intention of coming back and adding their shadows later.<br />
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<a href="http://4.bp.blogspot.com/-Qf4fVidLp68/T1oYPK9WKvI/AAAAAAAAAlM/AXKBz9nC5Ao/s1600/beets+and+carrots--step+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="http://4.bp.blogspot.com/-Qf4fVidLp68/T1oYPK9WKvI/AAAAAAAAAlM/AXKBz9nC5Ao/s400/beets+and+carrots--step+5.jpg" width="400" /></a></div>
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Step 6. Here I have painted the luscious black shadows on the knife, plus the second carrot. When painting an actual black object, I usually use actual black paint, in this case, W&N neutral tint. On the knife blade I showed the reflection of the beet. On the knife tang I showed the reflection of the carrot.<br />
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<a href="http://2.bp.blogspot.com/-5w9DiRBXIqo/T1oYPvpOu0I/AAAAAAAAAlU/AZryzRDzBk0/s1600/beets+and+carrots--step+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="http://2.bp.blogspot.com/-5w9DiRBXIqo/T1oYPvpOu0I/AAAAAAAAAlU/AZryzRDzBk0/s400/beets+and+carrots--step+6.jpg" width="400" /></a></div>
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Step 7. Finally I began to paint the red stripes of the dish towel, using quinacridone red (one of my favorite colors by the way). I noticed that the stripes in the shadow parts appeared more intense than the stripes in the sunlight. I wiggled and wavered them according to the slight folds in the towel, and tried to paint them imperfectly to keep the painting on the loose side.<br />
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Step 8. Big changes here! As you can see, I decide to go with a dark background. You might wonder if the background is so dark, where is all the light coming from? But we could imagine that the table is below the windowsill and the wall is in dark shade. The advantage of doing this is that it is very striking and really makes the lights dance! My first pass on the background was a little too light and mottled (I felt) so I glazed it again later. Colors used were permanent magenta and perylene green.<br />
Also you will see that I darkened the cutting board board edge considerably so that the carrots would stand out more. Plus I began painting the third beet and its greens!<br />
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<a href="http://4.bp.blogspot.com/-BoJdkIcPkQ8/T1oYQk7OKeI/AAAAAAAAAlk/LTSA2hvYu-Q/s1600/beets+and+carrots--step+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="http://4.bp.blogspot.com/-BoJdkIcPkQ8/T1oYQk7OKeI/AAAAAAAAAlk/LTSA2hvYu-Q/s400/beets+and+carrots--step+8.jpg" width="400" /></a></div>
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Step 9. Here I have darkened the background using the same colors again and made it smoother so it would be less distracting. Also I finished painting the stripes on the sunlit part of the towel.<br />
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<a href="http://1.bp.blogspot.com/-xTPCuvrJfKs/T1oYRPKWdAI/AAAAAAAAAls/P_ixFqLM_Oo/s1600/beets+and+carrots--step+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="http://1.bp.blogspot.com/-xTPCuvrJfKs/T1oYRPKWdAI/AAAAAAAAAls/P_ixFqLM_Oo/s400/beets+and+carrots--step+9.jpg" width="400" /></a></div>
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Step 10. The painting is just about finished here. I intensified the orange of the carrots, essentially painting them again, and I put in the scar on the bottom carrot. I finished all the beet leaves and their veins. I did some darker negative painting to accentuate some of the "crevice darks". Generally I went around and tweaked things a little. This last effort in a painting is so important and can make the difference between a good painting and a very good paintings, or a very good painting and a great painting!<br />
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<tr><td class="tr-caption" style="text-align: center;">Susan Avis Murphy <i>Beets and Carrots</i> image 14x18"</td></tr>
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Self-critique: I am pretty happy with this effort and like the bright colors and variety within these colors. I wish the bottom carrot had been aiming down instead of up, and perhaps going off the bottom of the picture a little... Also I kind of wish I had painted all the objects completely before doing the dark background so that I could see what it would have looked like with a light or white background. I am going to try to create that look using Photoshop and post the painting below. Give me a few minutes...<br />
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OK, here it is. I have put the above image in Photoshop and used the magnetic lasso tool to isolate the black background, then created new adjustment layers and changed it into either white, magenta or purple, shown below. What do you think? Do you prefer any of these over the black version?<br />
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<a href="http://4.bp.blogspot.com/-IEKYxaK14IM/T1oom9TxiqI/AAAAAAAAAmM/nOoYKdSlqlk/s1600/beets+and+carrots--magenta+backgroud.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="http://4.bp.blogspot.com/-IEKYxaK14IM/T1oom9TxiqI/AAAAAAAAAmM/nOoYKdSlqlk/s320/beets+and+carrots--magenta+backgroud.jpg" width="320" /></a></div>
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<a href="http://1.bp.blogspot.com/-zj9vAtQxDMM/T1oonXeDKvI/AAAAAAAAAmU/5qwoRgXnHYs/s1600/beets+and+carrots--purple+backgroud.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="http://1.bp.blogspot.com/-zj9vAtQxDMM/T1oonXeDKvI/AAAAAAAAAmU/5qwoRgXnHYs/s320/beets+and+carrots--purple+backgroud.jpg" width="320" /></a></div>
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<br /></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com13tag:blogger.com,1999:blog-6861959177651689402.post-40838677217981218842012-02-28T12:55:00.001-05:002012-02-28T12:55:19.301-05:00Watercolor Still Life--how I painted "Mugs and Mums"<div class="separator" style="clear: both; text-align: left;">
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As promised, here are the step-by-step photos taken during the painting of <i>Mugs and Mums</i>. This was a scene I photographed at a cute little cafe that had just opened in Venice, Florida, called the <i>Blu Island Bistro</i>. The morning sun was streaming into the glass-cased sunroom, where little bouquets of fresh flowers in square vases were positioned on each table. We had a wonderful breakfast there and I highly recommend the place!</div>
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<a href="http://4.bp.blogspot.com/-j_jVeZF0hzk/T00LandjO2I/AAAAAAAAAkU/iZtC8Na_18w/s1600/blu+island+bistro--mums+and+cups+original+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-j_jVeZF0hzk/T00LandjO2I/AAAAAAAAAkU/iZtC8Na_18w/s320/blu+island+bistro--mums+and+cups+original+photo.jpg" width="320" /></a></div>
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Step 1. I have been getting lazy about drawing lately, so I created a black & white "template" of the photo by printing it out lightly on plain copy paper. I then traced this using Saral graphite transfer paper onto a quarter sheet of stretched 140 lb Arches cold-pressed paper. I feel that if you know you can draw accurately, you do not have to prove it each time you want to paint! On the other hand, drawing by hand might result in a picture with more character, and I would never discourage it.<br />
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<a href="http://3.bp.blogspot.com/-JsZAYYnFpnw/T00LU2bww0I/AAAAAAAAAjc/2-m5Y2NxIKY/s1600/blu+island+bistro--mugs+and+mums--step+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="http://3.bp.blogspot.com/-JsZAYYnFpnw/T00LU2bww0I/AAAAAAAAAjc/2-m5Y2NxIKY/s320/blu+island+bistro--mugs+and+mums--step+1.jpg" width="320" /></a></div>
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Step 2. Next I put masking fluid (Daler Rownery) on the flowers because the spider mum was going to be difficult to paint around. Also I did a light background wash using quinacridone gold to represent the sunlit areas of the table. I splattered some water on the wet wash to variegate it with backruns. I began to paint in the bottom of the square glass vase.</div>
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<a href="http://1.bp.blogspot.com/-9mf8bzM7roU/T00LWJL1IQI/AAAAAAAAAjk/ioGubCcLLNw/s1600/blu+island+bistro--mums+and+cups+%281%29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="http://1.bp.blogspot.com/-9mf8bzM7roU/T00LWJL1IQI/AAAAAAAAAjk/ioGubCcLLNw/s320/blu+island+bistro--mums+and+cups+%281%29.jpg" width="320" /></a></div>
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Step 3. Now I had fun painting the mugs. I used cerulean blue to get a little granulation going, plus cobalt blue and quinacridone gold. I splattered a little paint on the picture with my brush. <br />
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Step 4. Here I started suggesting the streaks of sunlight. So important to get enough value contrast!<br />
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Step 5. To get the flowers to really stand out, I knew I had to get dark enough in the background. I wanted the big shadow (from the windowsill) to have a soft edge, because it is being cast from farther away (check the original photo above). I painted in the napkin roll on the left, and suggested the one on top with purple, but took this out later. Again, I purposely used backruns to create interest in this shadow area.<br />
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Step 6. Now I started painting in the mums. For the white mums. I used some purplish, yellowish shadows, while for the green spider mum, I just mixed a bright green and filled in the spaces. Here are all the colors I used in this painting: Winsor & Newton cerulean blue, cobalt blue medium, permanent violet, quinacridone gold, Hansa yellow by Da Vinci (an arylide yellow), and peacock blue by Holbein (a thalo blue).<br />
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Step 7. I added the tea or coffee (whichever you prefer) using quin gold. Also added the flower centers with a mixture of dark colors. I went back into the mugs and tried to suggest a more glossy surface by glazing with some hard edges (glossy surfaces have more hard edges reflected, while matte surfaces have soft internal edges). I also painted the rest of the windowsill shadow on the top side, plus suggested the edge of the table with a strong dark. While the big wash was wet, I spattered the picture with some cerulean blue. I love to do that! This is as far as I have gotten. I am thinking of adding a tea bag or a spoon in the upper left, sort of hidden behind the blue mug. <br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-FQL-wP_a-OQ/T00LZkhXtoI/AAAAAAAAAkM/lBxUyIn-un4/s1600/blu+island+bistro--mums+and+cups+%286%29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="http://1.bp.blogspot.com/-FQL-wP_a-OQ/T00LZkhXtoI/AAAAAAAAAkM/lBxUyIn-un4/s320/blu+island+bistro--mums+and+cups+%286%29.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Avis Murphy, AWS <i>Mugs and Mums</i> 9x13"</td></tr>
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Self-critique: This came out pretty well by my standards--not too tight and not too loose. The mug in the background actually looks more like a water glass, and I might make it into one by making it look more transparent. The jagged negative space in the lower right bothers me, and I might put another streak of shadow coming across it. Also I think the picture really could use one more prop, like a tea bag or spoon, or maybe a sugar packet. What is your opinion? Please tell me on the blog! Are you having any trouble with your painting? Let me know on the blog and we can discuss it.<br />
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Sue, ARThouse Studio School, February 28, 2012<br />
<br />Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com3tag:blogger.com,1999:blog-6861959177651689402.post-2291460238971328882012-02-24T09:26:00.000-05:002012-02-24T09:26:34.142-05:00Ten tips for painting loosely in watercolorIn our class at ARThouse this past week, we are learning about loose painting in watercolor. Many people express a desire to paint more loosely and freely, because of the beautiful effects that can be obtained in watercolor with this approach. We briefly studied the style of Charles Reid, and discussed different ways to make your painting looser. Here are 10 Tips for makings your paintings looser in watercolor:<br />
<ol>
<li>Start with a simple contour drawing that is less precise and has more character than you usually might do. When you paint, don't feel that you have to stay within the lines!</li>
<li>Use a bigger brush than you normally would. A good quality kolinski brush that points well will allow you to paint both large and small shapes.</li>
<li>Use lots of water. Splash it around a little and let it drip! Don't worry about backruns.</li>
<li>Usually mix your colors on the paper rather than on the palette. Allow one color to blend right into another even though they are in two different objects.</li>
<li>Don't do too much glazing--you will muddy the picture. Try to paint each object with no more that two washes--one for the base color (or "local color") of the object, and one for any shadows.</li>
<li>Don't try to make too many corrections. It will start to look over-worked!</li>
<li>Keep your pigments fresh and bright. Clean your palette and change your water more often!</li>
<li>Work a little faster than usual, although don't ever paint mindlessly! Concentrate on what you are going to do and then do it, with a minimum of brush-strokes and with an economy of means.</li>
<li>Leave parts of the painting up to the viewer's imagination; just suggest areas and don't spell them out.</li>
<li>Don't make things too perfect! The essence of loose painting is a brisk and spontaneous look. It may not be spontaneous, but it looks that way! </li>
</ol>
For my class demonstrations, I did two paintings based on still life scenes I photographed at an adorable little cafe in Venice, Florida, called the <i>Blu Island Bistro</i>. We had breakfast there twice in January, and the light was streaming into the restaurant's sunroom just beautifully, illuminating the 1950's style "retro" table settings and decor. Here are the two photos I used as a basis for these paintings:<br />
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In this posting I will show the step-by-step demonstration of my painting process in working from the second photo, called <i>Blu Island Bistro--Fruit and Grits</i>. In the next posting I will show the painting process for the first photo, called <i>Blu Island Bistro, Mugs and Mums</i>.<br />
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Step 1. I made a black and white template of the image and transferred it to watercolor paper using Saral graphite transfer paper. I changed the composition a little by taking away the paper coffee cups, adding a white mug, and moving the sugar container in front of the flowers. I am working on a piece of 16x20" bright white Arches 140 lb cold-pressed paper that has been stretched and stapled to a homasote board. <br />
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Step 2. I don't want the graphite showing through my painting because it isn't very attractive (plain pencil would have been better to my mind). But I do want fine lines to show through. So I went over the whole drawing with a Sakura Micron 01 burnt sienna colored pen. These are both indelible and lightfast. I tried to give the drawing a little more character and a quirky style.<br />
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Step 3. I started painting the local colors that I observed on the objects, keeping in mind that most of them are in shadow. I feel that I already went a little too dark at this stage, which caused me to have to go darker than I wanted with the rest of the painting. During the whole painting process, I occasionally splattered paint and let it drip, plus allowed backruns to form. You can see all these pictures larger by clicking on one, and they will all appear larger in a new window on the blog. I will tell you right now all the colors I used in this painting (mostly Winsor & Newton): quinacridone red, Winsor red, hansa yellow (Da Vinci), cerulean blue, ultramarine blue, cobalt blue, Peacock blue (Holbein--a thalo blue), cobalt turquoise light, verditer blue, permanent violet, and quinacridone gold. <br />
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Step 4. Next I started to paint the large background wash (made with peacock blue, permanent violet, and a little yellow) on the mauve-colored formika table. I wish I had just pretended the table was white, by the way... This light wash will represent the local color of all the areas that are in sunlight. I allowed the paint to drip and run together in funny ways. The painting board was propped 2" high with a box of waxed paper to allow this broad wash to run down and even itself out.<br />
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Step 5. Now I mixed a darker version of the same colors and started a large wash representing all the shadow shapes on the table. It is hard to run such a large wash all at once, so I stopped at the bottom and wet the edge with clear water so that it would dry with a soft edge. That way I could continue the wash later and have it merge together without a hard edge.<br />
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Step 6. Here I have continued the shadow wash across the entire table. I regretted that it was a little too dark, but felt that putting very dark areas on the left and right side of the table would help in the end to make it look like a shadow on a light surface. I also painted the yellow sugar container, and the top rims of the glasses.<br />
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Step 7. Now I began painting the grits and fruit. In keeping with the desired looseness of the painting, I often allowed colors to blend together on the paper. I got too much blue in the grits, but fixed it later. For the doilies, I painted around their edge with a little medium blue, and then washed it away to create a slight shadow around the edge. I just suggested the doilie holes with little spots of color.<br />
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Step 8. Quite a bit has been done since the last step. I painted the other fruit bowl and some of the grits, the silver ware, and the shadow on the fence in the background. I also drew in two chairs and then painted the local color of the floor in the sunlight, which was a golden oak color. Something a little confusing about this scene is that the table was up against a glass wall. Outside the glass was a walkway with a white fence and a swimming pool beyond it. Although you cannot see the pool in the original photo, I eventually decided to suggest it with a teal background beyond the fence (see next step). Also here I splattered more paint on the paper and tried to create some drips, a la Charles Reid. It was hard to get the paint to run!<br />
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Step 9. Still working on the background here. I used cobalt turquoise light for the pool color.<br />
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Step 10. Now to get that dark color around the table, I used quinacridone gold, mixed toward the bottom with permanent violet. I decided to add more appearance of striped shadows coming from the 8 o'clock morning sunlight. I am happier with the painting now that some darks have been added around the table. The style is much "messier" than I would normally paint, but that was the idea. Hopefully it will work in the end...<br />
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Step 11. Here I added a shadow to the chair on the left, in keeping with the streaked shadow shapes coming across the table. I also decided to add a band of brown at the bottom to make the table have a better proportion and bring some of that brown all the way around the picture. Also I painted the lettering on the salt and pepper, and tweaked some of the objects. This picture has been complicated!<br />
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Step 12. In order to improve the composition a little, and make it less
symetrical, I added a coupon card for the Blu Island Bistro. To do
this, I taped around the area with 3M drafting tape, then used a Mr.
Clean Magic Eraser to remove the paint. (Cut off a little square of
this sponge-like material, dip it in water, and then rub the surface
gently to remove the paint. Blot with a paper towel).<br />
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Step 13. I was then able to pencil in, and then paint in, the writing on the coupon. I also expanded the bottom edge of the table. The painting is almost finished, at least enough for this blog posting. I will keep it in view for a few days and perhaps make minor improvements.<br />
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<i>Susan Avis Murphy Fruit and Grits at Blu Island Bistro 14x18"</i></div>
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Self critique: As I said, I wish I had kept the large shadow area a lot lighter and perhaps more of a beige color. It seems unnaturally blue! It will be interesting to see how people react to this painting when they come into my studio. Perhaps I should have put the coupon at a different angle. I like the shadow stripes on the pool deck, but think the pool is too close for a pool! However the turquoise color adds a lot to the painting. I will probably do more paintings from this series of still life photos, but will return more to my usual style.<br />
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What do you think about the painting? Any ways it could have been done better? I would appreciate any feedback (please post your comments on the blog). Next posting in a few days will be a blow-by-blow account of the painting of the other photo above. Below is a sneak peak at the finished painting! Good luck with your painting-- Sue<br />
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<i>Susan Avis Murphy Mugs and Mums 9x13"</i></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com7tag:blogger.com,1999:blog-6861959177651689402.post-16494691259588155172012-02-19T12:52:00.000-05:002012-02-21T11:52:22.417-05:00Painting loosely in watercolor--a brief study of Charles ReidIn our first two classes we focused on painting a single object and depicting the surface characteristics of that object in a tight, realistic manner. In our third class from my course, <i>Still Life with a Difference</i>, we are going to take a different approach. We are going to attempt to paint a <u>full still life in a loose and free style</u>. And to get started, we are going to study the style of Charles Reid a little bit.<br />
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What watercolor still life course would be complete without introducing Charles Reid? Many of you are probably already familiar with the work of this well-known, highly revered, and much imitated artist! If you have any books by Charles Reid, please bring them to share with the class!<br />
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Here is an example of one of Charles Reid's still lifes:<br />
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<a href="http://1.bp.blogspot.com/-KksFGnNiuj0/T0EUtjAO18I/AAAAAAAAAeA/svysLBkM6tw/s1600/Blackcootpaintbrushesandtubes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="http://1.bp.blogspot.com/-KksFGnNiuj0/T0EUtjAO18I/AAAAAAAAAeA/svysLBkM6tw/s400/Blackcootpaintbrushesandtubes.jpg" width="400" /></a></div>
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<i>Black Coot with Paint Brushes and Tubes</i> by Charles Reid</div>
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Although in the watercolor world, Charles Reid's paintings are probably known best for their loose and apparently spontaneous style, the fact is that many other things are at work to make this painting a success. In his book, <i>Painting What You <u>Want</u> to See</i>, Reid discusses extensively how he uses the local color of his objects to dominate the painting even more than their value. He actually uses local color to <u>represent</u> value. For example, the local color of the lemon above, is a light value by definition. Yellow is really never a dark value! Whereas blue can be a dark value, and red tends to be a medium value. He may even change a certain color in a painting in order to get a darker or lighter value in that area. The blue background in this picture (above) appears dark to us, even though it is a medium value of blue. If he had made the background yellow, it would have appeared too light, thus affecting the division of space.<br />
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Here is another example of this emphasis on local value rather than local color:<br />
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Charles Reid <i>Half Moons</i> watercolor 22x25"</div>
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Above is the final painting, where Reid altered the scene to reflect its real impression on him, and what he <u>wanted</u> to see, as opposed to the more realistic sketch below that emphasizes the tremendous value contrasts present in this back-lighted scene:</div>
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What differences do you see between these two interpretations? Reid comments that both are valid, but that his style and personal preferences are for the warmer, more light and airy version on the top. Local color of objects is established first, and then shadow put on that is not drastically darker than the local value. The shadow on a white object is not darker than the light part of a dark object. Think about that for a minute. The shadow side of the white flower jug above (in the first of the two pictures) is <u>lighter</u> than the part of the blue chair that is in sunlight. That is how we know that the jug is white! So when we look at Reid's loose, painterly style, we must keep in mind his preference of color statements over value statements.<br />
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<u>Now for the question of that loose, free, colorful style!</u> I have heard Reid comment that his paintings are really not as spontaneous as they appear, and are painted more slowly than you might expect. Contour lines are first drawn in freely but accurately, in Reid's quirky, somewhat distorted, style. Local colors and values are painted in loosely, allowing color to blend on the paper and bleed outside of lines. A combination of hard and soft edges is used. The paint is allowed to puddle and dry in odd ways. Often drips and splashes are incorporated. Reid often paints watercolor on an easel and allows drips to run down the painting. He paints broad areas first, and doesn't focus on finicky little details. He doesn't really "refine" the painting except for making compositional alternations if needed. Color, shapes, and value are really his main subjects. If you look carefully at his paintings, they really embody the essence of "loose" painting!<br />
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Here are a few more examples, to whet your appetite for loose painting:<br />
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<i>Folk Seagull</i></div>
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<i>Pintail View</i></div>
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<i>Maple Syrup and Spring Flowers</i></div>
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<i>Wild Roses</i></div>
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cover of book, <i>Painting What You Want to See</i> by Charles Reid</div>
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You can see all of the above pictures in a larger version just by clicking on one of them! So, we are going to try a loose painting style in class this week, using existing photos as a reference or a still life that you might set up at home. Make it a "casual" still life because that will lend itself much more readily to this loose, spontaneous style!<br />
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<br />Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com5tag:blogger.com,1999:blog-6861959177651689402.post-65203449597980208932012-02-13T14:55:00.000-05:002012-02-13T16:15:54.011-05:00Still life paintings done by students of ARThouseI would like to share with you some of the still life paintings done so far by students in my <i>Still Life with a Difference</i> course here at ARThouse. I think these are fabulous. They are based on the first week's assignment to paint a still life with a glass object. We discussed some possible compositional problems with some, but otherwise, wow!! I didn't manage to capture a photo of all the good paintings that came in, so hopefully we will put up more student results in the future. Stay tuned!<br />
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Cecile Kirpatrick <i>Chilled Pinot Grigio and Lemons</i> 14x18"</div>
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Cathy MeDermott <i>Glass of Water</i> 13x9"</div>
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Mimi Hegler <i>Mason Jar and Onions</i> 16x20"</div>
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<a href="http://2.bp.blogspot.com/-rDyFLp-3db0/TzV0gP5smxI/AAAAAAAAAdA/YMWrsGzdkvc/s1600/Sue+Adams--Blue+Glass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="http://2.bp.blogspot.com/-rDyFLp-3db0/TzV0gP5smxI/AAAAAAAAAdA/YMWrsGzdkvc/s320/Sue+Adams--Blue+Glass.jpg" width="320" /></a></div>
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Sue Adams <i>Cobalt Blue</i> 12x14"</div>
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<a href="http://2.bp.blogspot.com/-VFZ07vkdZh8/TzV0icMjATI/AAAAAAAAAdI/iDfVWnvyBGs/s1600/Tony+Tiu--still+life+with+glasses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="http://2.bp.blogspot.com/-VFZ07vkdZh8/TzV0icMjATI/AAAAAAAAAdI/iDfVWnvyBGs/s320/Tony+Tiu--still+life+with+glasses.jpg" width="320" /></a></div>
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Tony Tiu <i>Still Life with Glasses</i> 13x18"<br />
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<a href="http://2.bp.blogspot.com/-o1ca5VX6FzY/Tzkpq57eFjI/AAAAAAAAAdg/WgDecpVYkss/s1600/Little+Italy+-+final--for+blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-o1ca5VX6FzY/Tzkpq57eFjI/AAAAAAAAAdg/WgDecpVYkss/s320/Little+Italy+-+final--for+blog.jpg" width="236" /></a></div>
Sally Drew <i>Little Italy</i> 13x9" <br />
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<a href="http://2.bp.blogspot.com/-Gall5lqnwak/Tzk-sZI00gI/AAAAAAAAAdo/KN7Zz_izflQ/s1600/IMG_2188--blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="http://2.bp.blogspot.com/-Gall5lqnwak/Tzk-sZI00gI/AAAAAAAAAdo/KN7Zz_izflQ/s320/IMG_2188--blog.jpg" width="320" /></a></div>
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Ruth Sentelle <i>Gardenia in Glass Vase</i> 10x14</div>
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<a href="http://3.bp.blogspot.com/-tpg-YqMC1i0/Tzk_-2CJLhI/AAAAAAAAAdw/T9Nj4gBzsYM/s1600/Abbey+Manor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-tpg-YqMC1i0/Tzk_-2CJLhI/AAAAAAAAAdw/T9Nj4gBzsYM/s1600/Abbey+Manor.jpg" /></a></div>
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Evelyn McKay <i>Abbey Manor</i> 14x10"<br />
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<a href="http://3.bp.blogspot.com/-9ELbEAKfGtA/Tzl9ZA99ZaI/AAAAAAAAAd4/CxXExe-SvHM/s1600/002--blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-9ELbEAKfGtA/Tzl9ZA99ZaI/AAAAAAAAAd4/CxXExe-SvHM/s320/002--blog.jpg" width="320" /></a></div>
Donna Moeller <i>Lemons in a Bowl</i> 14x18" </div>
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And here are the other two paintings I did as demonstrations:</div>
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<a href="http://4.bp.blogspot.com/-KaABQ2ve060/TzV3NWYJQbI/AAAAAAAAAdQ/6lkNkfR_-dA/s1600/IMG_2159--blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-KaABQ2ve060/TzV3NWYJQbI/AAAAAAAAAdQ/6lkNkfR_-dA/s320/IMG_2159--blog.jpg" width="281" /></a></div>
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Susan Avis Murphy <i>Creamer and Spoon </i> 9x8"</div>
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<a href="http://3.bp.blogspot.com/-i2C5vmahJYk/TzV33uWpQ3I/AAAAAAAAAdY/tjejqgRLItg/s1600/IMG_2186.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="http://3.bp.blogspot.com/-i2C5vmahJYk/TzV33uWpQ3I/AAAAAAAAAdY/tjejqgRLItg/s320/IMG_2186.jpg" width="320" /></a></div>
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Susan Avis Murphy <i>Japanese Bowl</i> 9x9" (unfinished)</div>
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<br /></div>Susan Avis Murphy, AWShttp://www.blogger.com/profile/15106867798822891519noreply@blogger.com3