Painting with a New Palette
Studio Painting with Field Study It has been a month of discovery and renewal. In an effort to break new ground, I have immersed myself in my work ignoring preconceived ideas. This cleansing has allowed me to open myself to new ways of looking at old problems.
I took a three day workshop this last week with Lynn Gertenbach, a wonderful landscape painter. Lynn has studied with famed Russian painter Sergei Bongart, as well as Arul Raj in India and Bernard Dunstan in England. Her adventurous spirit has taken her all over the world where she has painted, learned and refined her art. Lynn's use of color, her sense of values and plein air abilities all contributed to a successful workshop.
I took a three day workshop this last week with Lynn Gertenbach, a wonderful landscape painter. Lynn has studied with famed Russian painter Sergei Bongart, as well as Arul Raj in India and Bernard Dunstan in England. Her adventurous spirit has taken her all over the world where she has painted, learned and refined her art. Lynn's use of color, her sense of values and plein air abilities all contributed to a successful workshop.
Light Through the Gorge (From Lynn Gertenbach's Workshop) I have previously studied plein air painting with several painters, so I was glad when we only spent one day painting outside on location. I was thrilled to spend two days in the studio converting my field study into a larger painting. The top photo shows my field study of Light Through the Passage next to the studio painting. The influence of Lynn's color palette is easy to see. The vibrant colors of Light Through the Gorge are a departure from my more subdued palette.
It was a wonderful group of talented artists who came out to the workshop this past weekend. We told stories, shared paint colors, laughed as we shivered outside and were impressed with the final results of our three day workshop.
Debra Garrison(standing), Arlette Menard(seated), Sharon Weaver(standing), Lorelle Miller(seated), Lynn Gertenbach(standing), Jacquelyn Blue, Susan Gardner, Emily Goldfield
To subscribe to my blog click on the orange box at the top left. You will then have a direct link to my blog. You can purchase any of the paintings featured in my blog. Just click on the title and buy it online through PayPal or Contact Sharon. You can see more of my landscape paintings at my website at SharonWeaver.com
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How Drawing Improves Your Paintings
Quick Sketch from Tuesday Just one of the things you learn when doing quick sketches is to edit the figure down to the simplest form. Above is a figure drawn during Tuesday nights informal workshop. Above, the model's pose is a challenging study with crossing arms, legs and wicked foreshortening. It is a successful study with minimal lines and shadows. Taking Rembrandt's drawings as inspiration, I have distilled down to the essentials needed to show the form.
Compare the sketch above to the male pose below which was done on my first figure drawing class months ago. Both are five minute poses. Note the difference in the treatment of shadow. Less in the top sketch is actually much more effective. Also the bottom sketch has a consistently heavy line, with little variety. The pose is defined but not directed.
Look again at the drawing above. The figures head directs your eye to follow the arm down to the leg. Then the dark line of the calf leads the eye back up, around the bent arm, up again to the face. So why is this important? Because....
the principles that make a good drawing also make a good painting. Leading the eye where you want is an essential element when composing a successful painting. To engage the casual observer and pull them into the painting, is the effect every painter wants to achieve. Orchestrating that in your painting with varied lines, shapes and colors begins with a conceptual understanding of how to draw.
Male Figure Sketch
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Compare the sketch above to the male pose below which was done on my first figure drawing class months ago. Both are five minute poses. Note the difference in the treatment of shadow. Less in the top sketch is actually much more effective. Also the bottom sketch has a consistently heavy line, with little variety. The pose is defined but not directed.
Look again at the drawing above. The figures head directs your eye to follow the arm down to the leg. Then the dark line of the calf leads the eye back up, around the bent arm, up again to the face. So why is this important? Because....
the principles that make a good drawing also make a good painting. Leading the eye where you want is an essential element when composing a successful painting. To engage the casual observer and pull them into the painting, is the effect every painter wants to achieve. Orchestrating that in your painting with varied lines, shapes and colors begins with a conceptual understanding of how to draw. Male Figure Sketch
Drawing with Rembrandt
The mastery of Rembrandt is apparent in all his works, but the exhibit Drawings by Rembrandt and his Pupils at the Getty Museum, is an insiders look into how he thinks. It is only there until the end of February so if you haven't gone, you must.
Drawings by Rembrandt
In this exhibit the master shows his pupils how to draw. Rembrandt is known for his portraits using dramatic lighting (see above Rembrandt painting); a face appears from the dark depths of the canvas but in his sketches, he uses the opposite effect. I was struck by how little Rembrandt used shadow to convey the form. His drawings are a study in restraint with the light area dominating. It is not so much what he draws but what he leaves out. His line is expressive, varied, and kept to a minimum. The shadows are rendered only where needed, with little excess and no confusion.
Look at the sketches of the old man. Both leave his forehead light with only a thin line to separate it from the paper. The beard is defined, not by shadow but by subtle lines. The darkest area is where the neck meets the head, but it is restrained and minimal. With only a few lines, Rembrandt captures the expression of the old man.
The angel is another amazing drawing. The movement is achieved with line alone and the skill of the perspective is effortless. In the wash drawing of the woman, note the successful drapery. It is rendered with just a few key strokes.
I can only marvel at the amazing skill and talent. Practice is the only way to achieve this freedom of application. In my Tuesday sketching class, I will attempt to apply the lessons of Rembrandt.
Drawing by Sharon WeaverKarl Dempwolf Demonstration: After the Break
Painting by Karl Dempwolf and Sketches for Changes After the break, Karl discussed the painting above, which he wanted to improve. Karl thought the rocks were too similar in size, shape and color so he did some sketches to help him decide how to proceed. The tree was another shape that bothered him, it was to close to the center and too evenly shaped. Karl's paint is very thick so he will score the painting by sanding it before painting over top of the old paint.
Karl Dempwolf Making Changes to his Painting Above, Karl boldly reshapes the rock on the left and changes the color to be less blue. He inserted more sky between the rock and the tree which moved the tree to the right and changed its shape. In addition to these basic design changes, Karl added color interest to the foreground.It was easy to see the improvements.
Karl Dempwolf Making Changes to Another Painting Karl brought this large painting above to show us how he puts the finishing touches on one of his paintings. In one large stroke he is lightening the hill to the right. He felt the original sketch had more punch so continued to modify the larger painting accordingly. Karl then added the lines of bright green on either side of the river bed. He wanted more warm colors in the sky and added touches of peach. Karl then defined the foliage of the center trees against the sky. All these final changes added bright colors to the painting.
Karl Putting in the Final Touches The mid ground trees on the top left were to uniform and ended at the branch of the foreground tree so Karl added sky holes to separate them from the tree in front. He punched up the intensity of the orange in the center of the painting, separating that area from the foreground lines.
After Adding Highlights and Detail The shape of the curved trunk in the front bothered Karl but he decided to try adding white highlights to the trunk and a few white branches. I am sure that Karl will continue to make changes to this painting but it was fascinating to hear his reasoning as he worked on the painting. One of the most important lessons I came away with was seeing how bold Karl is with the changes he made. He is not intimidated or afraid to try something if it could improve a painting. Lesson learned: be fearless.
Become one of my blog follows at the top left by pushing the orange square. You will then be notified when I post a new entry. You can purchase any of the paintings featured in my blog. Just click on the title and buy it online through PayPal or Contact Sharon. You can see more of my art at my website at SharonWeaver.com
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Karl Dempwolf Demonstration
I recently went to a demonstration by Karl Dempwolf at TAG Gallery in the Bergamot Station. A large crowd turned out early on a rainy morning for the opportunity to see Karl, a California Impressionist painter. I have taken a plein air class from Karl Dempwolf and credit him with my addiction to painting outside, on location. Karl started his demonstration by showing us his process for starting a large painting from a field study. Following is my interpretation of the morning demo.
1) Take photos of the scene and paint a small field study (see the photo above with field study)
2) Start with a thumbnail sketch with values before painting. Above is an enlarged version of an initial sketch. On the left of the board is a small rectangle. That is the actual size of the sketch that Karl makes.
1) Take photos of the scene and paint a small field study (see the photo above with field study)
2) Start with a thumbnail sketch with values before painting. Above is an enlarged version of an initial sketch. On the left of the board is a small rectangle. That is the actual size of the sketch that Karl makes.
Karl Starts the Value Under-painting3) Karl prepares his panel himself by gluing linen to a luan board. I use New Traditions linen panels but they are best for 16x20 and smaller. You may prefer stretched canvas.
4) Tone the panel or canvas with a mid tone color. Some people use a combination of burnt sienna and ultramarine blue, or cadmium orange, or burnt umber and yellow. This is something you have to experiment with to see what you like, but try to always tone the panel. If you leave the background untouched the extreme white will make it much more difficult to achieve proper values. It is also much more interesting if some of the toned color shows through the paint in small areas.
5) Now you can start on a monochromatic blueprint. Edit the shapes to at the most 8 or 9 masses.
4) Tone the panel or canvas with a mid tone color. Some people use a combination of burnt sienna and ultramarine blue, or cadmium orange, or burnt umber and yellow. This is something you have to experiment with to see what you like, but try to always tone the panel. If you leave the background untouched the extreme white will make it much more difficult to achieve proper values. It is also much more interesting if some of the toned color shows through the paint in small areas.
5) Now you can start on a monochromatic blueprint. Edit the shapes to at the most 8 or 9 masses.
Adding Color6) When you have the blueprint completed you can start to block in the colors starting with the darks.
7) The paint should still be quite thin in texture and this is the time to start refining the shapes. Keep the masses interesting, variety of line and shape is very important.
8) As you work the details, this is where the paint is applied thicker.
7) The paint should still be quite thin in texture and this is the time to start refining the shapes. Keep the masses interesting, variety of line and shape is very important.
8) As you work the details, this is where the paint is applied thicker.
Series Showing How to Develop a Painting Above was another series which Karl brought to show the steps in developing a studio painting. Throughout the process Karl referred to his field study, not the photos. He emphasized that his interpretation of the scene was more important than painting it exactly as it appeared. He continually asked, "How can I interpret what I am seeing?" Karl is an artist who evaluates his paintings and is always looking to improve his work. In my next blog see Karl change two of his paintings and talk about why he made those changes.
Become one of my blog follows at the top left. You will then be notified when I post a new entry. You can purchase any of the paintings featured in my blog. Just click on the title and buy it online through PayPal or Contact Sharon. See more of my landscape paintings at SharonWeaver.com
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Painting Shadows and Light
The park, at first glance, wasn't too inspiring. No mountains, many of the trees were bare and the sky was hazy. But this was the meeting place, so theplein air group that meets on Thursday scattered around the park to paint.
I enjoy painting doorways, so I decided to paint the building across the street looking through the trees. It was a complicated composition and it took a lot of effort to achieve what I wanted. The color in the shade of this building was very tricky. I originally had it a tan color (see below) but found it to be too dull. Adding a blue-gray to the building really increased the depth and interest of the painting.
I also darkened the lawn and rock nearest me so the eye moves more easily to the doorway, which is the center of attention. I added the slightest bit of pink at the top of the sky and accents of orange to the steeple, steps, hand rail and large tree trunk.
I enjoy painting doorways, so I decided to paint the building across the street looking through the trees. It was a complicated composition and it took a lot of effort to achieve what I wanted. The color in the shade of this building was very tricky. I originally had it a tan color (see below) but found it to be too dull. Adding a blue-gray to the building really increased the depth and interest of the painting.
I also darkened the lawn and rock nearest me so the eye moves more easily to the doorway, which is the center of attention. I added the slightest bit of pink at the top of the sky and accents of orange to the steeple, steps, hand rail and large tree trunk. When we all stopped to have lunch, I was surprised at the dozens of artist who were painting in the park. It was an impressive group of paintings. Here are two that I think are exceptional. Laura Wambsgans painted the palm trees and Richard Scott, a new participant in the group, painted the path.
To subscribe to my blog enter your email in the box at the right. You will then be notified when I post a new entry. You can purchase any of the paintings featured in my blog. Just click on the title and buy it online through PayPal or Contact Sharon. You can see more of my art at my website at SharonWeaver.com
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Super Bowl Lesson
Thursday Paintout GroupDespite the odds and Peyton Manning, the New Orleans Saints won the Super Bowl. Usually all my blog posts are art-related but the Saints' win over the favored Indianapolis Colts is noteworthy for several reasons.
The smart money was on the Colts. The key factor the smart money didn't take into account was the determination of the Saints. In mid-season, when the Saints were losing, I predicted a win by the Saints in the Super Bowl. I told a fellow sports fan that I thought the Saints were the real deal; they had a tough defense, their offense could run and pass and their ability to force turnovers was high. But ultimately what kept the Saints in the game was the willingness of the coach and the team to take a chance, to risk it all with determination and guts. If they had not tried the onside kick at the start of the second half, the outcome of the game may have been very different. The team knew it was risking great field position for the Colts, but I believe that even if the onside kick hadn't worked in the Saints' favor, they would not have given up and would have tried something else. The point is, they took a chance, they tried, and it worked.
So how does this relate to art and you? I am encouraging all the artists out there to take a chance and try something different. Whether it is risking rejection by entering that national contest, painting something completely out of your comfort zone or trying to paint outside on location. You must accept the possibility of failure in order to have the option of success. Comment on or Share this Article →
Artist Demonstration: David Deyell
David Deyell Starting his Demo The San Fernando Valley Art Club February meeting featured watercolor artist David Deyell. Using a large paper and brush, David paints with a free, spontaneous confidence. He emphasized the importance of values in any successful painting and passed around a red filter which he uses to evaluate how effective the values are in his work.
David at the Break With only one large brush, David achieves fine lines and many different textures. His trick is to paint with every part of the brush, side, tip, face and hilt. He will roll the brush on the paper, punch it with the tip, use dry brush or lots of water. Variety is key and he always remembers to allow the brush strokes to show.
David Finished Painting of Half DomeAs a contemporary California Impressionist, David's work is simple, expressive and full of energy. He paints with an abandon that is inspiring. Often on location paintingplein air, David conducts workshops in Yosemite and teaches. The SFVAC wants to thank David for a wonderful demo.
Michelle Nosco, SFVAC President, In Front of David's PaintingsTo subscribe to my blog enter your email in the box at the right. You will then be notified when I post a new entry. You can purchase any of the paintings featured in my blog. Just click on the title and buy it online through PayPal or Contact Sharon. You can see more of my art at my website at SharonWeaver.com
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