Embedded Files
Here is a compilation of many great nuggets of information gleaned from the emails Giny keeps sending our way. I don't know about you, but I constantly want to refer to this information and spend way too much time searching through old emails. I think you would all agree, our time could be better spent doing more sketching and painting = more fun!
Here is a compilation of many great nuggets of information gleaned from the emails Giny keeps sending our way. I don't know about you, but I constantly want to refer to this information and spend way too much time searching through old emails. I think you would all agree, our time could be better spent doing more sketching and painting = more fun!
If Zoom requires a password this is it. 18348
If Zoom requires a password this is it. 18348
Giny continued teaching her summer Zoom 2020 pandemic watercolor class
through the fall, winter, spring and then into 2022. There is a wealth of information in the month by month links below on learning to paint in watercolor. Don't miss this great resource of archived class materials if you are interested in watercolor.
Classes are being taught in person at the Arts Center this summer, 2023. Our talented teachers will rotate between Giny Crawford, Debbie Wurzel and Linda Zug.
So check the Events Calendar for dates and times!
Quick Guide - Referenced Materials and Video Links from Giny's Class
Quick Guide - Referenced Materials and Video Links from Giny's Class
2020
2020
September 17, 2020: Here's a short Youtube on contour drawing... slightly different, but helpful. Basically, never lift your pencil, and Charles Reid's 2nd piece of advice, hold pencil like you hold your brush...draw with your arm. And remember:when transferring your value sketch to your watercolor paper, use a harder lead (HB), get the big shapes in very lightly, then go back with detail...
September 17, 2020: Here's a short Youtube on contour drawing... slightly different, but helpful. Basically, never lift your pencil, and Charles Reid's 2nd piece of advice, hold pencil like you hold your brush...draw with your arm. And remember:when transferring your value sketch to your watercolor paper, use a harder lead (HB), get the big shapes in very lightly, then go back with detail...
Contour Drawing with Chris Petri
December 10, 2020: Glazing/Layering.
Another artist link on glazing...here's a link to David Dewey's gallery...his glazing is phenomenal. In this gallery link, the first half are oils, the watercolors start at his lighthouse series. I saw a few of his pieces in a Maine gallery several years ago.
December 10, 2020: Glazing/Layering.
Another artist link on glazing...here's a link to David Dewey's gallery...his glazing is phenomenal. In this gallery link, the first half are oils, the watercolors start at his lighthouse series. I saw a few of his pieces in a Maine gallery several years ago.
Here are a couple artists who use layering beautifully, and below are some helpful youtube demos.
Here are a couple artists who use layering beautifully, and below are some helpful youtube demos.
Catherine Hillis: warm, cool, underpaint, glazing...
Catherine Hillis: warm, cool, underpaint, glazing...
Bivenne Harvey Staiger
Bivenne Harvey Staiger
There are a lot of youtube channels...a lot are a waste of time...but I find Steve Mitchell, Mind of Watercolor particularly concise with excellent up close demos. Here are 3 episodes I recommend.
There are a lot of youtube channels...a lot are a waste of time...but I find Steve Mitchell, Mind of Watercolor particularly concise with excellent up close demos. Here are 3 episodes I recommend.
Video Links
Video Links
And this is an excellent demo/refresher on how to control/change mix of water to pigment and control water in the brush:
And this is an excellent demo/refresher on how to control/change mix of water to pigment and control water in the brush:
2021
January 28, 2021 - (Video Michael Reardon High Speed Demo Amazing)
March 4, 2021 - (Cory Wright - Simplifying a Complex Scene in Watercolor)
March 11, 2021 - A favorite YouTube teacher: Advancing with Watercolor, with Gary Tucker. Gentle teaching, some are short ones on different techniques, others full narrated paintings, but each with a particular skill emphasis.
Short one on values, and glazing and mixing complementary colors:
Gary Tucker - values, glazing, complimentary colors
This one is great for mixing your colors on the paper:
Gary Tucker - mixing colors on paper
March 18, 2021 - (2 PDF's Sarah Yoeman Crows, Sarah Yoeman Crow Series PDF Article
(Greg Albert -Pleasing the Eye) Greg Albert -- Pleasing The Eye - Composition - PDF Article
Notanizer App - Mark McDermott https://markmcdermottart.com/
March 25, 2021 - (Artist Alice Neel, People Come First Virtual Opening Virtual Art Opening Alice Neel Sign-Up )
Update on brushes / questions
Update on brushes / questions
My question on a rigger brush for tree branches and grasses, etc. because I'd seen them used in YouTube videos.
Yes, a rigger is very useful and fun! You can also use a "sword liner", or a Cheap Joe's Loose Goose (but they are both harder to control than a rigger); or a cheap joe's Lizard Lick acts similarly.
About larger Brushes for washes.
If you got the Cheap Joes pseudo spirrel6 I'd be hard pressed to need bigger than a 1", unless you're going to use bigger paper.. Best flat I own use Isabey 3/4" 6239 syrus 6, but I can't find it again.
I'm not doing much bigger than 11x14 pads, 11x15 quarter sheets, or 12x16. I own a pad of 14x20 but rarely think about using it!) LOVE my 1" Silver Black Velvet OVAL 3009S, for big sloppy washes. Used a 1" flat on Saturday on a 12x16... On same photo, 3 brands of round size 12. I love my silver black velvet rounds 12, can paint anything big and small...
My question on how close brush sizes are in relation to each other.
Sizes (those teen sizes - 10, 12,14s)... Hard to say, yes the consecutive sizes are pretty similar, I think I use my 12 the most - especially the Escoda perlas that have such a nice point...Trying to attach photos of my 10 to 14s. (I think I used to have Escoda perla 8s, no more - too small maybe?)
Genesis 1.1- 5: Chiaroscuro
Genesis 1.1- 5: Chiaroscuro
Posted: 29 Dec 2020 06:38 PM PST
Posted: 29 Dec 2020 06:38 PM PST
God spoke: "Light!" And light appeared. (Genesis 1:3a, The Message). Light. And dark. Each needs the other in order to be defined, particularly in art. If a painting is all light, with no contrasting dark, it feels too simple, too surface. Dark alone is the same way. It is the pairing of the two - light and dark - in various ways that brings variety, and harmony to any work of art. Throughout the history of art, light and dark have been explored and exploited in various ways.
God spoke: "Light!" And light appeared. (Genesis 1:3a, The Message). Light. And dark. Each needs the other in order to be defined, particularly in art. If a painting is all light, with no contrasting dark, it feels too simple, too surface. Dark alone is the same way. It is the pairing of the two - light and dark - in various ways that brings variety, and harmony to any work of art. Throughout the history of art, light and dark have been explored and exploited in various ways.
A strong contrast of light and dark in the visual art is called chiarascuro (/kyärəˈsk(y)o͝orō/), which literally means light-dark (chiaro meaning “clear” or “bright" and oscuro meaning “obscure”' or “dark”).
A strong contrast of light and dark in the visual art is called chiarascuro (/kyärəˈsk(y)o͝orō/), which literally means light-dark (chiaro meaning “clear” or “bright" and oscuro meaning “obscure”' or “dark”).
Seventeenth-century Italian painter Michelangelo Merisi da Caravaggio (usually just referred to as "Caravaggio"), was the painter who first made this strong contrast of light and dark into a trademark of his style. Artists who came immediately after him and followed his style were referred to as Caravaggists.
Seventeenth-century Italian painter Michelangelo Merisi da Caravaggio (usually just referred to as "Caravaggio"), was the painter who first made this strong contrast of light and dark into a trademark of his style. Artists who came immediately after him and followed his style were referred to as Caravaggists.
Though created centuries after Caravaggio's work, the photograph of a cabbage leaf, embodies the ideas of chiaroscuro. The photo's background is a velvety rich darkness, and the topmost parts of the cabbage leaf are the lightest points. Between the background and the highlights is a full range of values. The gradation of light to dark is what creates a sense of three-dimensional form in the folds of the leaf. The sharp meeting of light and dark creates a hard edge that separates the dark background from the lighter leaf. It is the contrast that shows the form.
Though created centuries after Caravaggio's work, the photograph of a cabbage leaf, embodies the ideas of chiaroscuro. The photo's background is a velvety rich darkness, and the topmost parts of the cabbage leaf are the lightest points. Between the background and the highlights is a full range of values. The gradation of light to dark is what creates a sense of three-dimensional form in the folds of the leaf. The sharp meeting of light and dark creates a hard edge that separates the dark background from the lighter leaf. It is the contrast that shows the form.
Glazing/Layering Topic - From Giny's December 10 Class
Glazing/Layering Topic - From Giny's December 10 Class
Another artist link on glazing...here's a link to David Dewey's gallery...his glazing is phenomenal. In this gallery link, the first half are oils, the watercolors start at his lighthouse series. I saw a few of his pieces in a Maine gallery several years ago.
Another artist link on glazing...here's a link to David Dewey's gallery...his glazing is phenomenal. In this gallery link, the first half are oils, the watercolors start at his lighthouse series. I saw a few of his pieces in a Maine gallery several years ago.
Here are a couple artists who use layering beautifully, and below are some helpful youtube demos.
Here are a couple artists who use layering beautifully, and below are some helpful youtube demos.
Catherine Hillis: warm, cool, underpaint, glazing...
Catherine Hillis: warm, cool, underpaint, glazing...
Bivenne Harvey Staiger
Bivenne Harvey Staiger
There are a lot of youtube channels...a lot are a waste of time...but I find Steve Mitchell, Mind of Watercolor particularly concise with excellent upclose demos. Below are 3 episodes I recommend.
There are a lot of youtube channels...a lot are a waste of time...but I find Steve Mitchell, Mind of Watercolor particularly concise with excellent upclose demos. Below are 3 episodes I recommend.
Steve Mitchell - Glazing and Layering Basics
Steve Mitchell - Advanced Glazing/Layering
Steve Mitchell - Pigment to Water
***** This link makes me love this company! Every watercolor they make, with pigment, transparency/opaqueness and longevity clearly marked. This will help you match up your paints (if you have the pigment # marked on the tube or deep in another company's website). Liink Daler-Rowney
***** This link makes me love this company! Every watercolor they make, with pigment, transparency/opaqueness and longevity clearly marked. This will help you match up your paints (if you have the pigment # marked on the tube or deep in another company's website). Liink Daler-Rowney
Push-pull: From the October 29th Class
Push-pull: From the October 29th Class
Warm and cool colors act differently on the eye. Warm colors seem to advance towards the viewer, while cooler colors look farther away. You can use this knowledge to create dimension.
Warm and cool colors act differently on the eye. Warm colors seem to advance towards the viewer, while cooler colors look farther away. You can use this knowledge to create dimension.
A bright red pepper will glow with warmth in the light; its shadowed sides will appear cooler.
A bright red pepper will glow with warmth in the light; its shadowed sides will appear cooler.
You could use a warm red pigment (cadmium, scarlet lake, pyrrhol, vermillion) and shift to a cool red pigment (permanent rose, alizarin crimson) in the shadow area.
You could use a warm red pigment (cadmium, scarlet lake, pyrrhol, vermillion) and shift to a cool red pigment (permanent rose, alizarin crimson) in the shadow area.
Another technique is to put a warm yellow down under your warm red; for your shadow area, use your red straight or mix a pinch of blue or burnt sienna into it.
Another technique is to put a warm yellow down under your warm red; for your shadow area, use your red straight or mix a pinch of blue or burnt sienna into it.
PS- This I did not know:
PS- This I did not know:
The origin of the term. Abstract artist Hans Hofman invented the term. The teacher from last week's color workshop referenced Hans Hofmann...
The origin of the term. Abstract artist Hans Hofman invented the term. The teacher from last week's color workshop referenced Hans Hofmann...
Linear perspective- the technique used to create the illusion of space in a painting or drawing- has served as the golden rule for artists since the Italians developed it during the Renaissance.
Linear perspective- the technique used to create the illusion of space in a painting or drawing- has served as the golden rule for artists since the Italians developed it during the Renaissance.
Then along came Hans Hofmann.
Then along came Hans Hofmann.
Developing a technique he called “push and pull,” Hofmann proved that the illusion of space, depth, and even movement on a canvas could be created abstractly using color and shape, rather than representational forms
Developing a technique he called “push and pull,” Hofmann proved that the illusion of space, depth, and even movement on a canvas could be created abstractly using color and shape, rather than representational forms
October 22- Anne Abgott Underpainting "Push/Pull"
October 22- Anne Abgott Underpainting "Push/Pull"
Anne Abgott is the artist from whom I learned the underpainting to achieve push/pull. Her book, "Daring Color", is an affordable paperback. Daring Color Amazon Link
Anne Abgott is the artist from whom I learned the underpainting to achieve push/pull. Her book, "Daring Color", is an affordable paperback. Daring Color Amazon Link
There are a few "teaser" YouTubes you can watch, most are previews of paid video workshops thru some of the artist video networks, but give an idea of technique. All the ones below are actual demonstrations.
There are a few "teaser" YouTubes you can watch, most are previews of paid video workshops thru some of the artist video networks, but give an idea of technique. All the ones below are actual demonstrations.
October 15 - Videos mentioned on Demuth - Barnes Take Out Series
October 15 - Videos mentioned on Demuth - Barnes Take Out Series
CAUTION: See her website for pigment update since publication. Do not use rose madder genuine, use permanent rose or quinacridone rose.
As a recap, the supplies list from the Arts Center website.
As a recap, the supplies list from the Arts Center website.
- Paper: 9"x12," 140 lb. cold press paper in a block or taped/stapled to a lightweight board or even cardboard. "Artist quality is worth it: Recommended Arches, Fabriano, or Saunders ONLY!" (Arches 12 sheets in a pad for approx. $14 online is a good buy).
2. Brushes: 1" flat, #10 round, #6 round. (Buy synthetic)
2. Brushes: 1" flat, #10 round, #6 round. (Buy synthetic)
(Good budget brands are Princeton Velvetouch or Simply Simmons. Better quality is Grumbacher Golden Edge Synthetic Sable). I order from The Brush Guys.
(Good budget brands are Princeton Velvetouch or Simply Simmons. Better quality is Grumbacher Golden Edge Synthetic Sable). I order from The Brush Guys.
3. Paint colors: Ultramarine Blue, New Gamboge, Sap Green, Raw Sienna, Burnt Sienna, Cadmium Red.
3. Paint colors: Ultramarine Blue, New Gamboge, Sap Green, Raw Sienna, Burnt Sienna, Cadmium Red.
(Windsor & Newton professional watercolor tubes recommended for best results, (6 colors $38 for 5 ml); less expensive Cotman 8ml ($23) or Grumbacher 7.5ml ($20 Jerrys Artarama only), student grade paints acceptable.
(Windsor & Newton professional watercolor tubes recommended for best results, (6 colors $38 for 5 ml); less expensive Cotman 8ml ($23) or Grumbacher 7.5ml ($20 Jerrys Artarama only), student grade paints acceptable.
4. Palette suggestions: Mijello airtight watercolor 18 well palette is a good portable choice for limited work space and for plein air, $12 on Amazon. Larger ones are John Pike palette, Dick Blick covered palette, Stephen Quiller color wheel palette. Any plastic palette with at least 8 wells will do as long as it has plenty of room to paint. If your palette doesn’t have a lid, try PressNSeal over it between uses.
4. Palette suggestions: Mijello airtight watercolor 18 well palette is a good portable choice for limited work space and for plein air, $12 on Amazon. Larger ones are John Pike palette, Dick Blick covered palette, Stephen Quiller color wheel palette. Any plastic palette with at least 8 wells will do as long as it has plenty of room to paint. If your palette doesn’t have a lid, try PressNSeal over it between uses.
5. Other stuff: Paper towels or tissues, pencil, kneaded eraser, hair dryer, a water container or 2 and water, spray bottle, and a rag.
5. Other stuff: Paper towels or tissues, pencil, kneaded eraser, hair dryer, a water container or 2 and water, spray bottle, and a rag.
Paints: This summer we kept with the colors listed in our Arts Center 2020 Supplies List, but I suggest the following additions that will make color mixing for warm and cool colors easier.
Paints: This summer we kept with the colors listed in our Arts Center 2020 Supplies List, but I suggest the following additions that will make color mixing for warm and cool colors easier.
Suggested additions: lemon or aureolin yellow; permanent rose, quinacridone rose, or permanent alizarin crimson; cerulean or cobalt blue.
Suggested additions: lemon or aureolin yellow; permanent rose, quinacridone rose, or permanent alizarin crimson; cerulean or cobalt blue.
(See below - "6 color palette" for reference)
(See below - "6 color palette" for reference)
6 color palette
6 color palette
Recommended 6 palette colors - a warm and cool of each primary.
Recommended 6 palette colors - a warm and cool of each primary.
Looking at the world through nature's color wheel
Looking at the world through nature's color wheel
Always creative and ingenious - Giny created this amazing color wheel using fall leaves for our class! You may notice that blues are missing as they are not found in leaves.
Always creative and ingenious - Giny created this amazing color wheel using fall leaves for our class! You may notice that blues are missing as they are not found in leaves.
And then Giny couldn't help herself - she painted a watercolor of her fall leaf color wheel!
And then Giny couldn't help herself - she painted a watercolor of her fall leaf color wheel!
Setting Paints Out In Your Pallette
Setting Paints Out In Your Pallette
Notice my color cheat sheet.
Notice my color cheat sheet.
Recommended 6 palette colors * (a warm and a cool of each primary color).
Recommended 6 palette colors * (a warm and a cool of each primary color).
Mijello palette - Burnt Sienna, Brown Madder, Permanent Rose, *Alizarin Crimson, *Scarlet Lake (or cadmium red), Cobalt Violet, Yellow Ochre, Brilliant Orange (or permanent orange), *New Gamboge Yellow, *Aureolin (or Lemon or Hansa) Yellow, Jaune Brilliant, Lavender, *Cerulean, Cobalt Blue, *Ultramarine Blue, (Shared) Cobalt Turquoise Light/Cobalt Turquoise, (shared) Perylene Green/Sap Green, Neutral Tint or Paynes Gray.
Mijello palette - Burnt Sienna, Brown Madder, Permanent Rose, *Alizarin Crimson, *Scarlet Lake (or cadmium red), Cobalt Violet, Yellow Ochre, Brilliant Orange (or permanent orange), *New Gamboge Yellow, *Aureolin (or Lemon or Hansa) Yellow, Jaune Brilliant, Lavender, *Cerulean, Cobalt Blue, *Ultramarine Blue, (Shared) Cobalt Turquoise Light/Cobalt Turquoise, (shared) Perylene Green/Sap Green, Neutral Tint or Paynes Gray.
In setting your paints out in your palette, keep light colors away from dark: set up a sequence of yellows, siennas/ochres, then reds, then blues, then sap green (see my cheat sheet in attachment). In general, you want to squeeze your paint out - how much is tricky - a “good” amount but don’t overflow the well in your palette. Leave palette open so paints solidify slightly, it will take overnight or the day, then close. Keep flat. About an hour before painting, take your spray bottle and spray each well to rewet, close the palette.
In setting your paints out in your palette, keep light colors away from dark: set up a sequence of yellows, siennas/ochres, then reds, then blues, then sap green (see my cheat sheet in attachment). In general, you want to squeeze your paint out - how much is tricky - a “good” amount but don’t overflow the well in your palette. Leave palette open so paints solidify slightly, it will take overnight or the day, then close. Keep flat. About an hour before painting, take your spray bottle and spray each well to rewet, close the palette.
My Mijello palette: 5 x10 folded, it has 3 separate mixing areas.
My Mijello palette: 5 x10 folded, it has 3 separate mixing areas.
My larger John Pike palette for larger paintings and more color choices.
My larger John Pike palette for larger paintings and more color choices.
Pigments from left to right - Joune Yellow, New Gamboge, Lemon, Cadmium Orange, Cadmium Red, Permanent Rose, Alizarin, Brown Madder, Burnt Sienna, Yellow Ochre, Quin Burnt Orange or Burnt Umber, Verditer, Lavender Cerulean, Cobalt Blue, Cobalt Violet, Cobalt Turquoise Light/Cobalt Turquoise, SapGreen/Perylene Green, Viridian, Paynes Grey.
Pigments from left to right - Joune Yellow, New Gamboge, Lemon, Cadmium Orange, Cadmium Red, Permanent Rose, Alizarin, Brown Madder, Burnt Sienna, Yellow Ochre, Quin Burnt Orange or Burnt Umber, Verditer, Lavender Cerulean, Cobalt Blue, Cobalt Violet, Cobalt Turquoise Light/Cobalt Turquoise, SapGreen/Perylene Green, Viridian, Paynes Grey.
Tip - Choosing Brush Size
Tip - Choosing Brush Size
"Use the biggest brush you can for as long as you can!"
"Use the biggest brush you can for as long as you can!"
Brushes: Suggested basic set, (the others are good to look to add as you progress).
Brushes: Suggested basic set, (the others are good to look to add as you progress).
2 or 3 rounds, size 8 and 12. I get my Escoda Perla’s from Amazon, a set of 3 (8,10,12), $45
2 or 3 rounds, size 8 and 12. I get my Escoda Perla’s from Amazon, a set of 3 (8,10,12), $45
Viewfinders
Viewfinders
I'm including a useful tool: a viewfinder. Mine is just a piece of paper with cutouts approximating the proportions of my watercolor paper. You can also use strips of paper and move them around on the printed photo, or empty out an old 35mm slide... OR...the magic of phones, use the EDIT tool for different cropping.
I'm including a useful tool: a viewfinder. Mine is just a piece of paper with cutouts approximating the proportions of my watercolor paper. You can also use strips of paper and move them around on the printed photo, or empty out an old 35mm slide... OR...the magic of phones, use the EDIT tool for different cropping.
Dimensions for viewfinder cutouts
Dimensions for viewfinder cutouts
Videos
Videos
Here's a short youtube on contour drawing... slightly different, but helpful. Basically, never lift your pencil, and Charles Reid's 2nd piece of advice, hold pencil like you hold your brush...draw with your arm. And remember:when transferring your value sketch to your watercolor paper, use a harder lead (HB), get the big shapes in very lightly, then go back with detail...
Contour Drawing with Chris Petri
Contour Drawing with Chris Petri
Online Zoom watercolor workshops
Online Zoom watercolor workshops
I mentioned Vlad Yeliseyev. (I took a plein air workshop with him 2 years ago, I’m in the opening photo of the website).
I mentioned Vlad Yeliseyev. (I took a plein air workshop with him 2 years ago, I’m in the opening photo of the website).
2 excellent vimeo/streaming workshops for rent: “Basic Drawing for Outdoor Painters” and “Primaries in Watercolor”. He has a very specific color palette for each layer of painting; you can adapt to your own colors.
2 excellent vimeo/streaming workshops for rent: “Basic Drawing for Outdoor Painters” and “Primaries in Watercolor”. He has a very specific color palette for each layer of painting; you can adapt to your own colors.
Twice a week he does a 3 hour “paint along”, no personal interaction, cost per is $19.95. If the time doesn’t fit your schedule, you can access the Zoom recording for 48 hours after the workshop. Value study and photo provided prior to event.
Twice a week he does a 3 hour “paint along”, no personal interaction, cost per is $19.95. If the time doesn’t fit your schedule, you can access the Zoom recording for 48 hours after the workshop. Value study and photo provided prior to event.
Watercolors
Watercolors
Giny Crawford
Giny Crawford
I will be forever grateful to Daisy Biddle Eiman and her Thursday "Drawing with Daisy" in the PLP Arts Center for inspiring me to learn and pursue watercolor.
I will be forever grateful to Daisy Biddle Eiman and her Thursday "Drawing with Daisy" in the PLP Arts Center for inspiring me to learn and pursue watercolor.
I enjoy encouraging Arts Center enthusiasts of all levels to increase confidence and skills in this wonderful media... as well as leading silk painting "you can't make a bad scarf" workshops. Let's paint "together" at a distance.
I enjoy encouraging Arts Center enthusiasts of all levels to increase confidence and skills in this wonderful media... as well as leading silk painting "you can't make a bad scarf" workshops. Let's paint "together" at a distance.
In my own paintings, I seek to create a connection with the viewer, as if sharing an experience - but free to take our individual impressions away. The beauty of PLP remains the focus of my subjects, along with the people and sights of the city.
In my own paintings, I seek to create a connection with the viewer, as if sharing an experience - but free to take our individual impressions away. The beauty of PLP remains the focus of my subjects, along with the people and sights of the city.
Recent recognitions include signature status in the Baltimore and Pennsylvania Watercolor Societies.
Recent recognitions include signature status in the Baltimore and Pennsylvania Watercolor Societies.
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