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Painting Class
This website will support classes by Carol Hama Chang

WATERCOLOUR   CLASS

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1) Reviewing values and blending techniques we will do a monochromatic study of the head of a gargoyle which resides in Glasgow not so high above the main thoroughfare. This beautiful classical Grecian style sculpture is about 300 years old! Study the head. Know where all the curves and corners (soft and hard edges) go. For us die-hards, sketch it out using the grid system or for you softies, blow up your photocopy and trace the shapes. This is a painting class, not a drawing class, so go ahead and cheat to save time if you must!

2) Using only about 4 values, paint in the shapes. Do NOT proceed by painting an outline, just the shapes. Constantly verify whether it is lighter than or darker than your reference value. Remember to make the shapes about 30% darker than your intended final value as watercolours fade back about 30% when dry. Tricky, eh? Follow the guidelines mentioned in class, using your value scale.

This session, the theme is "Cityscapes and Landscapes".

We began by painting washes: flat, blended, graded and variagated washes and converted those washes into brick walls.

This wall is painted as a whole wall, not as individual bricks that are laid together. Note that in this demo the wall was painted in the following sequence:

1) Wet wall area with enough water to moisten but not so wet that the water will drip when the paper is held vertically.
2) Drop in colours without mixing on the paper. Keep different areas with different and distinct colours. Remember that watercolours fade as they dry so mix colours that are about 30% richer (more intense) than you want.

3) Dry.
4) Using a flat brush for easiest application paint in a few bricks and   change colours for each brick, by mixing colours in the palette. Work quickly. Each subsequent colour will be dabbed on previous brick to harmonize the colours. Working quickly will ensure that the moisture will blend well and not leave the infamous watermarks. remember that you will be painting in random patterns...do not paint them evenly spaced out, try putting them in small groupings of odd shapes with a few straggly bricks towards the edges of the groups. Keep it looking random.
5) Dry.
6) Mix a darker warm colour and with small dabs stipple the darker values into the bottom half of about 2/3 of the bricks.
7) While that is drying use the same paint and paint in the joints between the bricks, but paint only the joints in the shadow
. Note that the shawdows will be in the same orientation for all the bricks ie bottom and left if the sun is from the upper right hand side. Try to be reasonable about the brick sizes. Check the internet for brickwork patterns.
8) You can do some research and find common colours, sizes and patterns the bricks are laid in. And how the corners of buildings, or near edges or near lintels etc are treated.



 

 



The demo on the left shows how I paint flowers in a flower box and not get mud!

Read through entire instruction BEFORE starting.

1)Starting with the foliage I use about 3-4 different greens keeping the deeper values where the shadows will go. Paint the greenery leaving lots of blank areas for the red flowers. Use a variety of shapes and greens and a variety of placement and size of the white spaces.

You can save your whites with masking fluid, masking tape or just negatively paint in the green as I did in this example. To use masking tape as a mask simply tear flower shapes with your fingers (do NOT use scissors), of various sizes and shapes then firmly place them on the dry watercolour paper BEFORE STARTNG

2) Since red and green are complements placing red over the green will yield a brown, so the red must be painted on watercolour paper...on the white, blank paper.

Use the same criteria for placement of the whites as you did for the bricks, place them in groups and place them randomly, not evenly spaced like cookies on a cookie sheet.

3)Dry.

4)Paint in the reds in about 2-3 different values of reds for variety. Place a few red dots on the green area for a variety of colours, values and chroma. Some reds spots are larger, some smaller.

Variety
is the key word!







This view of Swinegate in the ancient town of York, England shows an inviting courtyard beyond the building in the foreground. Note the perspective of the tunnelling effect

1)Begin by lightly sketching the main lines for rhe structure, being certain that the lines all merge at an imaginery vanishing point. Paint in the facing wall as we did in the brick wall demo, leaving white space for the flowers in the flowerbox, for the windows and for the columns and lintel that surround the tunnel.

2) Note that the walls and "ceiling" in the "tunnel" are much darker that the floor in the same space because the light fromthe sky is shining down onto the floor and some of that reflects onto the walls and ceiling in very specific places. You can paint these walls and ceiling a warm dark and leave a few white spaces inbetween strokes to depict texture or architectural details. this demo was left uncompleted, anticipating that students will complete their own image out of their own imaginations.

3)Complete the flowerbox as we did the the previous note.

This page last updated:Nov, 2007

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This website had been designed and created by Carol Hama  Chang. Copyrighted  2007. All rights resrved.