Class Exercise---intro to ink and ink wash

Drawing I students were introduced to ink today, and asked to explore working wet-in-wet, and in layers. We talked about learning when to let go a little and let the ink just "be".....and when to exert control. Also, we talked about creating hard and soft edges with ink. So we worked from a still life, and a few chose to work from imagination on the second image.

JannaWilliam

Yll

Malinda
Nicole

Sherrin

Sorry for the poor slide quality on these last ones...as usual, operator error.
Marilyn
Jonathan

Wendy
Roderick


Good job, Drawing I.....

FYI, from here on out, it's going to get a little tougher to get onto the blog!

Ink wash samples....

These are posted to inspire (specifically, my Drawing I class)....... I can't recall where I've collected all these images, but I will attribute where I can....

Yes, this is ink......

A Delacroix Landscape

Richard Diebenkorn

H. Tokahu

A student ink drawing (mostly line)

Both of these are by Rembrandt....note the drybrushing in Sleeping Woman.

J. Piper

Jim Dine

All by Victor Hugo

Yes, this is ink....and yes, it scares me a little. I can't find the artist's name...sorry.

These two are watercolor, but the techniques are essentially the same as ink....
The one on the left is Mondrian....I believe the one on the right is Luks.
I adore the Mondrian...

Drawing I---First exercise

Drawing I, Spring 2008, First Exercise!
I'm really proud of this class---they jumped in, listened, and even though they didn't get to finish the first drawing, it was successful across the board. Sorry for the lousy slide....operator error. Students were asked to tone their paper, and using charcoal, a chamois, and erasers, draw from the still life set up; working reductively and adding details with charcoal.

Here are some "blog worthy" drawings from the first session:

First Drawing, Sherrin

First Drawing
Malinda Balcom.

First Drawing
Nicole Rivera

First Drawing, Yll

Keep up the good work Drawing I students!

Watercolor Assignment

Here's the homework assignment for Friday, January 18 class:

As always, work in your sketchbook, by drawing, but also list 20 different types of watercolor paintings/drawings you'd like to do...think subject matter and technique.

Beginning Exercises:The following info is from The Watercolor Artist’s Bible by Marylin Scott. This is a good reference for you, and it’s inexpensive. All information is intended for educational use by my Watercolor class at CPCC.
Get to know your palette….here are the colors you’ve been asked to have on hand
Cadmium Red (Primary)
alizarin crimson (Primary)
Lemon yellow (Primary)
Cadmium yellow (Primary)
Yellow ochre or raw sienna (Primary)
Burnt sienna (Tertiary)
Burnt umber (Tertiary)
Viridian (Secondary)
cobalt blue (Primary)
Cerulean blue (Primary)
Winsor blue (phtalo blue) (Primary)
Payne’s gray (Tertiary)
Perm. Sap green (additional color)
Indigo (additional color)
Permanent Rose (additional color)
Violet (additional color---this one is tough to mix)

First of all, we all know that on the basic color wheel we’re all taught, there are only three primaries. But considering the transparency of watercolor and the trickiness of mixing for beginners; we’re going to start with 6 primaries----a warm and cool of each of the three main primary colors (red, yellow and blue).

Begin with a sheet of watercolor paper. You won’t need to stretch it; and these are just exercises, so don’t waste the paper. I estimate you’ll need about a 16x20” (give or take a little) to do this. Or you can do it on smaller pieces---or directly in your sketchbook. Think about your traditional color wheel, and paint a shape (such as the pie shape) using your six primaries:

You will paint this on dry paper, and be sure to clean your brush thoroughly when you change colors. Paint them large enough that your can really see the color---several inches at least. You will notice that there is a warm and cool version of each color.

The most vibrant and intense secondary colors (colors made by mixing two primaries) are made by mixing primaries that have the same bias (i.e., cool primaries together, and warm primaries together).

Mixing primaries of opposite bias will give you a more muted secondary color. So, mix a warm primary with a cool primary:

There is no substitute for experience. Sometimes you’ll want to create layers of color---like glazing in oils, this can create a very luminous effect. So, let’s see what happens when we try some Overpainting effects:

The colors listed are simply samples. Mix from your own palette, and be sure to label it. This will be a great resource for your sketchbook.

Hint for oil painters…blending isn’t a good idea here…lay the color down with a sure stroke, then layer the next color over it. Experiment with how much you let it dry between applications---you’ll get different effects that way.

Transparent and opaque colors:
Theoretically, all watercolors are transparent, and it is this quality that characterizes the medium. However, some pigments are slightly more opaque than others, the most transparent colors being the dye-based ones such as alizarin crimson, sap green, and phthalo (or Winsor) blue and Panyne’s gray. Lemon yellow, yellow ocher, and cerulean blue are all relatively opaque, so they can be used to lighten the tone of a darker color beneath, or to amend it if required. Printed directly from The Watercolor Artist’s Bible by Marylin Scott.

Granular Effects: Some colors tend to “break up” when you add water, so it’s good to have a reference for ones that have this tendency.

Click here for a printable version of this assignment.

Jasper Johns "Gray" and the Art Institute of Chicago

The Art Institute in Chicago is currently exhibiting Jasper Johns Gray, a sprawling collection of mostly monochromatic works. While I have certainly looked at Johns before, I was taken aback by the variation and continuity of the work. The subtlety was actually quietly stunning. There weren't a lot of pieces that wowed me individually, but as a whole, it is more than the sum of its parts.

One that did wow me was Diver. This is a breathtaking drawing in person...it's large; 6 or 7 feet tall, on paper mounted on canvas. The warmth of the underpainting is just luscious. The image reverberates from the downward thrust of a dive, to the two-dimensionality of the mark making and the hand prints. It is movement and static all at once. And a lovely catalog to boot. I believe it moves to the Metropolitian next. Visit http://www.artic.edu/aic/exhibitions/exhibition/johns for more info.

Also on display was a photo exhibit: Girls on the Verge. You know...I am mostly bored by photography, and this was no exception.










The permanent collection is strong in painting...I was pleased to see Cailebotte again....I didn't realize that he never sold a painting in his lifetime until I read it the other day. The museum has a number of big names; Picasso, Monet, van Goghs....a few lovely Corots.

I don't recall seeing Manet's The Mocking of Christ during previous visits...what a stark and haunting painting. The figure is so incredibly high key it almost leaps off the picture plane.


And John Singer Sargent's The Fountain is just lovely. I just get this pure sensual joy looking at his color and brushwork.

The minaiture room is fun; the American collection is good. The Asian collection, well, I don't know enough about it to know if it's good. I wasn't too impressed by anything pre-17th century.....so Egypt, Rome, etc. were small (hopefully, I didn't just miss them, but I was struggling to see everything in one day, so who knows?). Some of the galleries were closed due to the construction/renovation on the Modern wing.


Upcoming exhibits for Spring 2008 include Edward Hopper and a show of Winslow Homer watercolors (a must see, I think).

Age of Impressionism at North Carolina Museum of Art

Okay, I admit I am a bit of an art snob. I sort of glory in it. I've seen some things that have blown me away, and frankly this exhibit wasn't one of them. It wasn't bad...just average. For $15.00 I want it to hold my interest more than 15 minutes, which is about how long it took to make it through the exhibit. Monet can be good, but these Monet's are kind of a yawn. There are a couple of lovely Sargents, a Courbet or two, and a number of other "names".

Sargent had such a facile hand...it's like he didn't even have to think about it---just reacted. It almost seems too easy, and those of us who have to struggle marvel at it and resent it a little, and think maybe he is a bit superficial. But I think there is a certain magic in him. His watercolors are stunning---perhaps the immediacy of watercolor was perfect for his abilities....

The Museum has a fabulous Keifer in its permanent collection, and several Wyeth's that make me scratch my head and calculate how long it must have taken to make all those little cross-hatched strokes....and a nice portrait by Sir Henry Raeburn with incredible edge quality.

I think a worthwhile stop, particularly for students, even though the feature exhibition didn't overcome my own snobbery.

Supply List for Spring Watercolor class

For those who want to ask Santa to bring some their watercolor supplies:

As with any art material, buy the best you can afford….
Paints: I prefer tubes, but pans are okay.
I like Winsor Newton Artists Watercolors. The student grade version is Cotman watercolors.
* optional colors

Cadmium Red
alizarin crimson
Lemon yellow
Cadmium yellow
Yellow ochre or raw sienna
Burnt sienna
Burnt umber
Permanent Rose
Viridian cobalt blue
Cerulean blue
Winsor blue (phtalo blue)
Payne’s gray
Perm. Sap green
Indigo*
Violet*


Brushes:
Sable are best, but are expensive. I like Winsor Newton, but there are a lot of good sable watercolor brushes out there….just make sure they are for watercolor. You cannot interchange your watercolor and oil brushes.
Princeton makes a decent synthetic sable brush. Look for “spring” and a good point.
Sizes:
1” flat
½” flat
Size 10 round
Size 4 round
liner
other sizes as desired

Palette: I like a butcher’s tray (available with watercolor supplies), but you can purchase a plastic or ceramic palette, depending on your taste. Make sure there is enough room to mix easily.

A natural sponge and a synthetic sponge. These often come in a set.
Gummed tape (I have some on hand, so wait on this)
One large water container (1 quart or more), one smaller water container (8-16 oz.)
Board for stretching paper. You can buy a watercolor board, but a masonite sheet works well, and are cheap, so you can have a couple of them.
Paper towels (there are never enough…Viva is a good brand)
Masking fluid (I have some on hand—you might want to wait on this)
Cotton swabs have many uses; small spray bottle for water.
Pencil, ink pen, erasers, hardbound sketchbook (get a size you can easily manage, or keep using the one you have)

Watercolor paper (I like Arches):
140 lb. must be stretched; don’t go less than 140lb.; You can purchase cold-press paper by the sheet, by the block , or by the roll. You do not need to purchase all three. 5 sheets of Arches 22 X 30” 140 lb cold press paper costs $15.88 at www.dickblick.com . I estimate you will need about 15 sheets or so. Around half of these will be cut up into smaller sections for studies, etc.
Watercolor Block eliminates the need to stretch paper. Needs to be at least 12 x 16”, You will still be required to stretch some---you need to know how.

Suggested Vendors: Cheap Joes on Monroe; Binders at Cotswold www.danielsmith.com ; www.dickblick.com ; www.asw-express.com ; www.cheapjoes.com ; www.jerrysartarama.com ;

You’ll be taught how to mat and frame your watercolors; and you need framing materials for at least one project. The cost will be kept to a minimum, but you’ll need matboard, a frame and glass. Don’t buy this now….wait till the time comes.

Lastly, you’ll be required to enter at least one exhibit. Entry fee for the student show is $5.