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class pics

an art-space, from your place!

Sue's home studio with Bronte the chocolate lab

 

Here we can keep the spirit of our Thursday art classes alive.  Even though we're now stuck at home, we can escape through art, set aside some healthy 'me-time' and keep painting! 

Email me your works in progress and they can be shared on this page for the rest of the art class. And why not send a pic of your 'home/art-space too'!

I'll give feedback, and can add comments to the uploaded images.  

ABOVE :

watercolour over oil pastel

Sue Brook

The resist effect used here  with watercolour over white oil pastel works beautifully.  It brings the foreground rocks forward and creates a very rock-like texture!

The same effect is seen below in one of Sue's thumbnail sketches.  In each of these, varying approaches and techniques to the same subject were explored, such as comparing oil pastel with candle wax as a resist effect.

BELOW:

watercolour over oil pastel (detail from thumbnail sketch)

Sue Brook

BELOW:

Thumbnail sketches: (clockwise) masking fluid; pastel; blotting; candle wax

Sheep: white crayon and watercolour wash

Landscape: masking fluid and and watercolour wash

Karen Wiedemann

These thumbnail sketches demonstrate various ways light areas can be achieved in watercolours. Masking fluid is the most dramatic method, giving a sharp edge, perfect for  crisp definition - as in the first stage of Karen's landscape, where the tree branches had been masked before the wet-in-wet watercolour wash, setting up a great depth effect.  

Planning ahead in watercolours is pretty important, as is working light to dark. There are many ways of creating white areas, from masking fluid, masking tape, 'reserving whites' (that is, leaving areas of the original paper untouched) , to resist effects (such as oil pastel, wax crayon, wax candle).

 

However, a wet wash can also be 'lifted' to lighten areas. Blotting into a wet wash gives a softer edge effect too - great for clouds and sheep!

 

Another method, once washes are dry, is using chalk pastel over the top.  This extends the watercolour into 'mixed media' techniques, and is great for emphasising texture and working light on dark.

BELOW:

watercolour over white oil pastel

Rosina Evans

Oil and water don't mix.  But, it's this very quality that works beautifully as a resist effect, such as in this watercolour where white oil pastel has been applied under the washes.  In the detail you can see how the texture of the rough paper  plays it's part too: the pastel skips over the bumpy surface, creating a scattered dotty effect.

The neat crisp edges on Rosina's work were done using tape around the edges.  This is removed once the painting is finished.

BELOW:

watercolour and white gouache

Karen Wiedemann

BELOW:

oil on canvas

Marion Squire

There is a surprising amount of crossover between watercolour and other mediums.  Here, Marion is using fluid watercolour techniques in oil paint.  If there's a white surface underneath - such as this gesso-primed canvas - then the same principle applies! 

 

By adding a little bit of paint to lots of your favorite fluid painting medium (here, a home brew of linseed oil and odourless solvent), you can achieve similar wet-in wet interactions.  The same effects can be acheived in acrylics; just remenber to use a water-based fluid medium!

In Marion's portrait, the same fluid techniques were used for the background. The figure is being worked up from light to dark, with the added benefit of opaque lights being able to cover - something you cant do in watercolours unless you add gouache...

BELOW:

watercolour and gouache

Elke Paull-Keller

... Gouache is used here to great effect. Mixed directly into the watercolour paints or applied diluted over the watercolour paint, white gouache has a cooling effect on colours, shifting the hues towards blue.   It also gives the paint covering power.  This opacity is gives forms - such as the leaves and wall - a certain substance and solidity.

ABOVE:

watercolour and white gouache

Karen Wiedemann

Here's two examples of white gouache used with watercolours...

In Karen's work (above), the opacity of the gouache really comes into play.  Touches of the paint in the hair give it 'body'.  In  the shirt , the gouache gives a solidity which contrasts with the translucency of the fabric (which is painted with watercolour only).  The suggestive wet-in-wet background a great example of what watercolours do so well when allowed to do their thing!

There is a similar effect in Martha's work below. The texture of the paint on the white shirt sleeve also works to make that foreground area advance.  It not only creates a sense of depth, but contrast effectively with the looser more fluid marks in the background.  In the faces and arms, white gouache has also been mixed in with the watercolours.  This tinting with white also has a great effect of making these areas appear solid, giving real sense of volume...

BELOW: 

watercolour and white gouache

Martha Clemen

watercolour and white gouache (detail)

Martha Clemen