Tuesday, September 16, 2014

Skies Don’t Have Brushstrokes In Them [feedly]



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Skies Don't Have Brushstrokes In Them
// Artist Daily

Watercolor artist Thomas Schaller achieves convincing and dynamic effects in his skies (Salisbury Cathedral, watercolor painting).
Watercolor artist Thomas Schaller achieves convincing and dynamic effects in his skies
(Salisbury Cathedral, watercolor painting).
I know it is a bias, but sometimes I can't help thinking that painting skies belongs to a particular realm of watercolor painting. The medium just seems best suited to give the jaw-dropping visual effects that often appear in the sky.

Take a crystal clear blue sky on a sunny day. The delicacy and uniformity of that color--with very little variation in tone or value--seems much easier to convey in a bold wash of watercolor than in the brushstrokes of an oil painting. While I love brushstrokes, and think there is a time and place for them, sometimes they can be visually disruptive if handled in too busy a manner, or if the effect you want is a little more seamless.

Or what about the extreme colors of the aurora borealis? These atmospheric effects are so vaporous and fine that blotting a series of colors on watercolor paper seems the way to go to achieve that transparent gleam.

Barcelona, Spain VII by Keiko Tanabe, watercolor painting, 11 1/2 x 8 1/4.
Barcelona, Spain VII by Keiko Tanabe,
watercolor painting, 11 1/2 x 8 1/4.
If there are storm clouds rolling in with several gradations of color in the sky, then this could be an excellent opportunity to really put the blending properties of watercolor painting through its paces. Painting wet into wet, you can usually build subtle layers of color while getting a lot of organic forms in the area you are painting--both of which would be ideal for a cloudy, stormy sky.

By no means am I saying that watercolor artists are superior or that watercolor art is heads above the rest, but watercolor painting may be the way to go if you are drawn to many of the most powerful aspects of art--color, texture, line, and organic forms. The Artist's Color Guide to Watercolor can really open up your eyes to all of the inherent possibilities in this medium, or it can help you sharpen your watercolor painting techniques if you are a practicing watercolorist. Either way, enjoy!


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Silver and Gold | Acrylic Paintings By Jim Seitz [feedly]



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Silver and Gold | Acrylic Paintings By Jim Seitz
// Artist's Network

It took New Orleans artist Jim Seitz four months of trial and error to develop his method for successfully combining acrylic and metal leaf. His process begins with taping the outside of a gallery-wrapped canvas to create a crisp edge. He then applies Golden's Light Molding Paste with a sheet-rock trowel, giving it just enough texture to cover the canvas. He prepares five or six canvases at a time, saving the task for moments when he doesn't feel particularly creative.

Seitz does no preliminary sketching on the canvas. The only element he establishes immediately is the horizon line, which he usually places at the bottom of the composition to give the painting a more contemporary feel. Once that's in place, he applies a wash of red oxide acrylic paint to the foreground and then brushes on Sepp Gilding Workshop's water-based size for an adhesive. When this dries to the point of tackiness, he begins the meticulous process of applying the small, fragile squares of gold or silver leaf.

To learn more about Jim Seitz and his painting process and materials, see the article "Going for the Gold" in the newly released Fall 2014 issue of Acrylic Artist magazine available here. Enjoy these examples of the artist's acrylic-and-metal-leaf landscape painting:

Seitz-30x30_silverleaf_Cotton_Candy

Cotton Candy (30×30, acrylic and silver leaf on canvas) by Jim Seitz

 

Seitz-Rain-Maker-(acrylic-gold-leaf-on-canvas)

Rain Maker (acrylic and gold leaf on canvas) by Jim Seitz

 

Seitz-around-the-bend-60-x-40-acrylic-and-silver-leaf

Around the Bend (60×40, acrylic and silver leaf on canvas) by Jim Seitz

 

 

 

 

 

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New Work for Illuxcon [feedly]



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New Work for Illuxcon
// Muddy Colors

By Justin Gerard

Illuxcon 7 is nigh!
And we are about to leave for it. This year, along with some of our existing work, we will be bringing a lot of new work as well.

Some of the new drawings that I will be bringing:













And while I have been screwing around with watercolors and pencils, Annie has been hard at work on some amazing new oil paintings that she will be debuting this year at the show:






 


Stop by and say hi at the Illuxcon Main Show, September 17 - 21 at the Allentown Art Museum in Allentown, PA!


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Painting a Saddle in Watercolor [feedly]



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Painting a Saddle in Watercolor
// Gurney Journey


Yesterday I did a watercolor demo of a Western-style saddle at the SKB Foundation workshop here in Wyoming. (Direct link to YouTube video)

Here are two stages in the hour-long painting. On the left is the painting halfway finished, with the large color areas blocked in.

I then defined the smaller details and textures using water-soluble colored pencils and just a few touches of white gouache for highlights.

The time lapse is shot with a GoPro Black set at a two-second intervals. The GoPro is mounted on a DIY rig that uses two kitchen timers for a compound (pan and tilt) move.
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For 72-minutes of watercolor demos with voiceover, check out my video "Watercolor in the Wild":
HD download: (Credit Card)  from Gumroad
HD download: (Paypal) from Sellfy
BONUS FEATURES (a half hour of additional bite-size inspiration)
DVD: (NTSC, Region 1-North America) 
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If you like painting workshops, the SKB Foundation has an emphasis on landscape and wildlife painting, with a half-dozen instructors in a beautiful setting and a congenial atmosphere.
Thanks to Hunter at the CM Family Ranch in Dubois, Wyoming and to artist Lee Cable for the info about the saddle.


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