Tutorials
2008, April 24Watercolorboard: This winter I received a Watercolorboard as a gift. This is a board designed to stretch watercolor paper and keep it taut while you paint, no matter how wet you have the paper. I really like this product. I'm not one to soak my paper, then staple it to a board--I'm too impatient for that. I usually just quickly tape my paper to a board and off I go. This doesn't always work well when painting on a full-sized sheet. This product is making me a believer in stretched paper, at least when you know you are going to produce very wet washes.
You start by wetting your paper, front and back. I usually use a water bottle sprayer and a 2" brush to even it out. Let it sit for just a few minutes until the paper is pliable. (even for 300# paper) Put the paper on the board and screw down the four metal sides which crimp the paper into place. Then, if you want a damp surface, you can start to paint immediately. It's great, because it never buckles up, no matter how wet you get it. You don't have to stretch and re-stretch the paper. Once you have the four metal sides in place it's not going anywhere.
A nice plus with The Watercolorboard is that with the crimped edges, once the painting is dry and removed from the board, the crimps keep it stiffened. I have a full-sheet size board and when I take a painting out, even 140# full sheet paper will stand upright. I can leave it on an easel for viewing without support.
Another plus to The Watercolorboard is that it has a carrying handle and also has a mount on the back which works with a camera tripod quick-release mount. Great for taking it outside.
A drawback to the board is that you can't let the paint or water run off the edge, due to the fact that the metal edges are higher than the paper. However, I keep a brush handy and just soak up the excess to keep it from running back into the painting.
Overall, I really like this product. In fact, I've just ordered another one in a smaller size. I loved the full-sized board so well, I wanted to get a half-size for smaller projects. These can be purchased through Guerrilla Painter/Judson's Pochade or Blick online. (Blick currently has these 21% off list price) Here is a picture:
2008, April 22
Paints: Choosing paints can be a daunting decision, with so many brands and so many colors to choose from. The main thing to make sure of is that you use artist grade paints instead of student grade. Student grade paints are less expensive and have less pigment in them. Artist grade paints are richer in color, giving you greater ranges in color and values when you paint. Most artist grade paints work fine and are a matter of choice.
My personal brand choices are Winsor Newton, Holbein, and Daniel Smith. I usually use the latter two the most. All three brands are of excellent quality. I like Holbein because their paints are made with honey and, while they "set" on the palette, they reconstitute easily and hardly ever crumble. I have tried other honey-based paints that are sticky and gooey, making them difficult to transport in a palette. Daniel Smith I like because of their quinacridone selection--these are vivid color paints. I've heard these paints were originally developed by the automobile industry, but I don't know it that it true. They are just beautiful colors that blend well with other colors. Winsor Newton paints are an old standby--very high quality paints that have been around for years.
Colors starting out--pick a warm yellow, red and blue and a cool yellow, red and blue. Examples: New Gamboge, Scarlet Lake, and Cobalt; Aureolin, Alizarin Crimson and Thalo Blue. Others I would add to start would be Burnt Sienna
(or Quinacridone Burnt Scarlet), Raw Sienna and Ultramarine Blue.
2008, March 28
Paper: This is the second of my series on choosing watercolor supplies. This is one topic I feel pretty strongly about. You must paint on good, artist quality paper, even when you are just practicing. It is extremely difficult to get good results on inferior papers and part of learning the qualities of the various paints is how they react on the paper. So, when you are just starting out and trying to learn how watercolor paints work, you will quickly become disillusioned when practicing on lesser papers. Let's face it, watercolors can be difficult using all the right materials, so why give yourself additional obstacles to conquer. If I had to choose between paper, paints and brushes, having a good quality paper would come first, then paint, and lastly brushes.
My recommendations:
1) Arches --This one is made in France and has been around for centuries, even since DaVinci's time. It is readily available and is the number one recommended paper by artists worldwide. I use it 95% of the time. It is pretty rugged and can take a beating better than most papers. If you like to splatter, scrape and lift, this one is for you.
It can be purchased in sheets (22x30") or in a paper block in various sizes, generally with 20 sheets per block. I usually recommend Cold Press*, 140# weight to start, then try Arches Rough and Hot Pressed papers. 300# weight papers are heavy and generally unnecessary unless you plan a full-sized sheet painting (22x30") and need to deal with rippling or plan to hang it in a very humid location.
*Cold press is a middle ground paper as far as texture--not as smooth as Hot Pressed, not as bumpy as Rough.
2) Fabriano Aquarelle -Artist quality, not Studio. Again, 140#, Cold press. They also make a good spiral-bound watercolor sketch pad with 140# paper that is great to take outdoors or when you travel.
3) Waterford--this is one I haven't tried, but intend to. It has been used by many professional artists and I want to try it. Again, make sure you get an artist's grade paper.
2008, January 11
Brushes: When you are starting out painting, you really don't know what supplies to get. Do I get quality products and pay out the bucks? Or, do I just get by to see if I'm really going to like it before getting a loan from the bank to get the items I really want. There are a couple of thoughts about this. I plan to write a series of tutorials about my thoughts on paper, paints, palettes, etc. But, today, let's talk brushes.
I know of two well-known artists (both of whom have written books and I have taken classes from) who differ on their preferred brush to paint with. Pat Weaver (Florida) recommends an inexpensive synthetic 1-inch, slant Loew-Cornell brush (hers had a red stripe around it, mine does not-a 1" 7400 Series Angular). I found one online for around $10.00, but couldn't tell you now where it was purchased. Michael's carries round Loew-Cornell brushes (same red stripe) and I've purchased a #10 there. The slant brush in particular fits Weaver's style of painting and she can make it dance. She does fabulous animal portraits, among other things. I really like the #10 round and keep it handy.
On the other hand, Charles Reid (Connecticut) chooses to use an expensive Kolinsky sable brush, and in fact, has Da Vinci make a "Charles Reid Series" of brushes. (can be purchased at Artxpress.com) These hold lots of paint with water in the belly and come to an absolute perfect point. Reid has a loose style of painting and he says he can't get the same effect with any other type of brush. I have to admit, I haven't seen anyone paint like Charles Reid. I am fortunate to have a couple of his brushes and concede that he is right about the brushes. These brushes are what I generally use and I keep them out, ready to reach at all times.
That being said, does this mean I would have purchased the more expensive brushes in the beginning? Probably not. For one thing, I wouldn't have known how to take advantage of them and use them correctly. Can you possibly get a great watercolor without them? Absolutely.
I feel you need to understand watercolors and how to handle them before exploring on to bigger and better things. I think paint and paper is more important. (Sorry, die-hard Kolinsky brushers!) However, you can't take the most inexpensive brush or cheaply made brush out there and expect great results. There are some musts, no matter what brush you use.
With a round, it must have a good point when wet. (BTW, there are some expensive Kolinsky brushes that don't come to a good point!). You also need it to hold a lot of water/paint in the belly. Thin, skinny brushes just won't do it. Synthetics might not hold has much as a Kolinsky, but you should be able to find a reasonably good but less expensive synthetic or synthetic blend brush. Like I said, I have a #10 Round, Loew-Cornell that I still pick up and use often. It's great for flicking in grasses, tree trunks, etc.
If you get a #10 or #12 round brush with a good point, it can act like a #2 or #4. This saves getting too many brushes at first, so you can gradually build up your brushes according to your style of painting. Flats are primarily used for washes or fence posts, when held perpendicular to the paper. When wet, you want it to come to a sharp edge. If your style of painting doesn't include washes, you may not even need a flat. I rarely use a flat. Only when I'm laying in a landscape sky wash do I use one and even then I don't always find it necessary when you have an extra large round brush. However, Tom Scott (the Louisville artist I paint with weekly) uses flats a lot in his landscapes--uses their ends, edges, flat side for patting color and really knows how to use a flat creatively.
So, if I was starting out today, as a minimum, I would probably get a #10 or #12 with a good fine point, a 1 1/2 inch flat for washes, and possibly a rigger for tree branches and that would be it for awhile. Later, if I wanted, I would add a #6 ,#2, and #14 or larger, just for convenience.
After I progressed in my painting and not only learned the brushes, but learned how to handle paper and paints, I would reward myself with more expensive brushes, adding them when I could afford them. Even if you just have one, you'll find it invaluable and, treated well, it should last you a lifetime.
Here is a photo of a few of my brushes, Loew-Cornell on the left, Charles Reid on the right. You can see what I'm talking about regarding the points. I know of two well-known artists (both of whom have written books and I have taken classes from) who differ on their preferred brush to paint with. Pat Weaver (Florida) recommends an inexpensive synthetic 1-inch, slant Loew-Cornell brush (hers had a red stripe around it, mine does not-a 1" 7400 Series Angular). I found one online for around $10.00, but couldn't tell you now where it was purchased. Michael's carries round Loew-Cornell brushes (same red stripe) and I've purchased a #10 there. The slant brush in particular fits Weaver's style of painting and she can make it dance. She does fabulous animal portraits, among other things. I really like the #10 round and keep it handy.
On the other hand, Charles Reid (Connecticut) chooses to use an expensive Kolinsky sable brush, and in fact, has Da Vinci make a "Charles Reid Series" of brushes. (can be purchased at Artxpress.com) These hold lots of paint with water in the belly and come to an absolute perfect point. Reid has a loose style of painting and he says he can't get the same effect with any other type of brush. I have to admit, I haven't seen anyone paint like Charles Reid. I am fortunate to have a couple of his brushes and concede that he is right about the brushes. These brushes are what I generally use and I keep them out, ready to reach at all times.
That being said, does this mean I would have purchased the more expensive brushes in the beginning? Probably not. For one thing, I wouldn't have known how to take advantage of them and use them correctly. Can you possibly get a great watercolor without them? Absolutely.
I feel you need to understand watercolors and how to handle them before exploring on to bigger and better things. I think paint and paper is more important. (Sorry, die-hard Kolinsky brushers!) However, you can't take the most inexpensive brush or cheaply made brush out there and expect great results. There are some musts, no matter what brush you use.
With a round, it must have a good point when wet. (BTW, there are some expensive Kolinsky brushes that don't come to a good point!). You also need it to hold a lot of water/paint in the belly. Thin, skinny brushes just won't do it. Synthetics might not hold has much as a Kolinsky, but you should be able to find a reasonably good but less expensive synthetic or synthetic blend brush. Like I said, I have a #10 Round, Loew-Cornell that I still pick up and use often. It's great for flicking in grasses, tree trunks, etc.
If you get a #10 or #12 round brush with a good point, it can act like a #2 or #4. This saves getting too many brushes at first, so you can gradually build up your brushes according to your style of painting. Flats are primarily used for washes or fence posts, when held perpendicular to the paper. When wet, you want it to come to a sharp edge. If your style of painting doesn't include washes, you may not even need a flat. I rarely use a flat. Only when I'm laying in a landscape sky wash do I use one and even then I don't always find it necessary when you have an extra large round brush. However, Tom Scott (the Louisville artist I paint with weekly) uses flats a lot in his landscapes--uses their ends, edges, flat side for patting color and really knows how to use a flat creatively.
So, if I was starting out today, as a minimum, I would probably get a #10 or #12 with a good fine point, a 1 1/2 inch flat for washes, and possibly a rigger for tree branches and that would be it for awhile. Later, if I wanted, I would add a #6 ,#2, and #14 or larger, just for convenience.
After I progressed in my painting and not only learned the brushes, but learned how to handle paper and paints, I would reward myself with more expensive brushes, adding them when I could afford them. Even if you just have one, you'll find it invaluable and, treated well, it should last you a lifetime.
2007, December 19
For those of you not aware, when I'm not painting, I have a full-time real estate practice with my husband/partner Marty Mudd. We are "The Mudd Team" with RE/MAX Associates and have worked in the Greater Louisville area for over 17 years. You might wonder how real estate and art go together. You would be surprised how my skills in art actually carry over into the real estate business, not only in marketing (photographing homes in their best light, creating eye-catching ads and appealing virtual tours, web site layout, etc.) but often it carries into the home-staging phase as well.
When we go on initial listing appointments, homeowners invariably ask what they need to do to get their homes ready for viewing. Sometimes, the list is long. However, many times it is a matter of a few simple changes. One of those changes is a rule used constantly in art.
When you view art (or create art) there is (or should be) a path for the eye to follow. There are lots of compositional paths, but an obvious example would be an "S" shape path of a stream or street in a painting or it could be a less obvious path created by connected light shapes throughout a portrait. In real estate, those same paths are followed by the eye when people are viewing a room for the first time.
In a painting, blocked areas keep the eye from moving throughout the painting. In a home, it could be a single piece of furniture, total furniture arrangement or even the placement of a plant arrangement keeping viewers mentally "blocked" from viewing and sometimes, actually moving freely through a room. There are other "blocks" such as too strong a color, value issues, etc. but paths are often most important.
The best way to see this is to stand just outside the door of your room (or in front of your painting). Close your eyes for 10 seconds or so. Then, open them up quickly. Note the first thing you see or the thing your eye goes to first. If it is something that literally or figurative blocks your eye's path through the room, then take care of it by moving it, laying on a neutral throw, putting something in front of it to create a transition, etc.
Whether viewing a painting or a home, "inviting" is the feeling you want your viewers to get. They must feel invited to tour the home or art, wanting to move around it, through it, feel it. Purchasing a painting or a home is an emotional transaction, requiring an emotional response (while selling your home is a business transaction-just get it done). Buyers need to feel something strong and positive about your home/art in order to buy it. The best way to get this started is by visually creating welcoming paths throughout.
Note: This year we listed a home for the first time that had previously been on the market for about a year without success. We met with the homeowners and were asked what could be done to improve their chances of selling their home. We noted two furniture items that, while weren't preventing people from walking into the room, gave the impression of a blocked entry. Marty and I actually helped them rearrange the furniture to show them what we meant. It worked. They received a contract in less than a week. Wish they all worked that way!
When we go on initial listing appointments, homeowners invariably ask what they need to do to get their homes ready for viewing. Sometimes, the list is long. However, many times it is a matter of a few simple changes. One of those changes is a rule used constantly in art.
When you view art (or create art) there is (or should be) a path for the eye to follow. There are lots of compositional paths, but an obvious example would be an "S" shape path of a stream or street in a painting or it could be a less obvious path created by connected light shapes throughout a portrait. In real estate, those same paths are followed by the eye when people are viewing a room for the first time.
In a painting, blocked areas keep the eye from moving throughout the painting. In a home, it could be a single piece of furniture, total furniture arrangement or even the placement of a plant arrangement keeping viewers mentally "blocked" from viewing and sometimes, actually moving freely through a room. There are other "blocks" such as too strong a color, value issues, etc. but paths are often most important.
The best way to see this is to stand just outside the door of your room (or in front of your painting). Close your eyes for 10 seconds or so. Then, open them up quickly. Note the first thing you see or the thing your eye goes to first. If it is something that literally or figurative blocks your eye's path through the room, then take care of it by moving it, laying on a neutral throw, putting something in front of it to create a transition, etc.
Whether viewing a painting or a home, "inviting" is the feeling you want your viewers to get. They must feel invited to tour the home or art, wanting to move around it, through it, feel it. Purchasing a painting or a home is an emotional transaction, requiring an emotional response (while selling your home is a business transaction-just get it done). Buyers need to feel something strong and positive about your home/art in order to buy it. The best way to get this started is by visually creating welcoming paths throughout.
Note: This year we listed a home for the first time that had previously been on the market for about a year without success. We met with the homeowners and were asked what could be done to improve their chances of selling their home. We noted two furniture items that, while weren't preventing people from walking into the room, gave the impression of a blocked entry. Marty and I actually helped them rearrange the furniture to show them what we meant. It worked. They received a contract in less than a week. Wish they all worked that way!
2007, October 23
When someone really grasps how to draw, they then can tackle pretty much any subject and be fairly successful with it--doesn't matter if it's still lifes, landscapes or portraits. When people watch me draw, they wonder how I can fairly accurately and quickly get the subject down on paper. My secret is contour drawing. This drawing method can take you leaps and bounds forward in your ability to actually see and draw your subject matter.
In Betty Edwards' book "Drawing on the Right Side of the Brain" (see my "Items of Interest" section), she goes over the contour drawing technique, which involves following the subject along with your pencil on paper, without lifting, following all contour shapes, including inner shapes and shadows--all without lifting your pencil. It is a very "artistic" way of drawing with amazing results.
Charles Reid is a great example of a master artist who uses contour drawing in his paintings. In addition to the Betty Edwards book I purchased when I got started, I also purchased Mr Reid's "Painting Flowers in Watercolor". He goes over his technique for contour drawing and then shows how he moves into watercolor painting with it. A very good book which I highly recommend for someone wanting to start watercolors. Below is the cover of this book, which can be purchased on Amazon.com.
Painting Flowers in Watercolor with Charles Reid
