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Monthly Archives: August 2014

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                               Big Red Lighthouse

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                                 White River Lighthouse 

A couple of years ago, Richard McNaughton challenged many of his fellow art bloggers to paint lighthouses. My sister was up for this! She has always been drawn to lighthouses and visiting them when she travels. To make a long story short, she made sure I had reference photos of five of them for the challenge. You can see the paintings I did from those references by clicking here.  For a while, now, she has wanted me to paint two more of the lighthouses she has visited.  I finally sat myself down and drew and painted them for her. These are both lighthouses from Michigan that she has visited. She says they call the one on the top “Big Red”.

One thing I had to keep in mind is how I painted the previous five as she would like to hang them together. For these, I used a wonderful coldpress watercolor paper called Cartiera Magnani. I also kept these to the size that I had painted the others and tried to stay true to the colors I had used for the others. I had to use liquid frisket to save small areas of white in each painting, since I worked so small. I really enjoy working on this paper but have not been able to order large sheets of it. Every time I try, I am told it is out of stock. I have two blocks of the small 9 x 12  inch sheets remaining. It is a soft paper with an interesting texture and the water and pigments soak into it immediately. It is great for a rather detailed look and retains the brilliant color of the pigments exceptionally well.

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by Nancy Longmate

by Nancy Longmate

horsefriends

 

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STEP 1 :        Monochromatic Study

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STEP 2 :   Splatter

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STEP 3 : Lift and Soften Edges of Some Splatters and Add Color

 

The above two paintings are Nancy”s and my final attempts with working together on splatter painting. We completed five paintings, each, experimenting with subject material and color. We practiced and painted a grisaille, first, in all five paintings. We used this technique to paint buildings, portraiture, city scenes and landscape.

I have learned that it is very difficult to ruin a watercolor and that it is harder to get mud than I thought. I learned I could paint a monochromatic study and still return to vibrant color. The splatter helped to create interest  and  enhance depth in some of them. We called them our dirty paintings because we had to get used to the way they looked following the splattering phase. I think the splatter helped the “look” of what I normally paint just like the masa paper and citra-solv collage helps my paintings.

A tutorial of this technique can be found here and here.

by Nancy Longmate

by Nancy Longmate

walkingthedog

 

There is not much more I can say about this project than my friend and I are still experimenting with splatter paintings, described here and here. We have always started with a monochromatic study of our reference and then splattered or dripped clear water and color on them, before refining and adding more color. We have branched out to experiment with figures in a landscape and adding more color.

My photo, above, is a  street scene of Pirates Alley from wet canvas and a figure I found in another wet canvas reference photo. I made the dog up (fashioned it after my maltese dogs but a little larger). I will probably continue to use this figure. He is so versatile!

I was fascinated with all the abstract color in Nancy’s elephants! This is a truly adaptable technique that opens all sorts of possibilities with your personal style. It is also underscoring that about anything is possible with watercolor. It is really hard to wreck them.

 

by Nancy Longmate

by Nancy Longmate

herschellcarousel

 

The above two paintings are Nancy’s and my third attempt with splatter painting.

We are adding more color even though we begin these with a monochromatic study in payne’s gray. I think I’d like to try one in sepia some time, too. Carol King has been helping us with this via emails since she took the workshop with Tim Saternow. She has also sent me links to his article in “American Artist Watercolor” (Winter 2012) and several other links of artists who use similar techniques. I think a watercolor artist can probably adapt this technique to how he or she likes to work. The splatter and drips ( if you tilt your board) add something spontaneous and fun to work with. The value study sets the tone.

I promised to post my steps on this post, so here are the steps to the Herschell Carousel. Thank you Wet Canvas for the reference image!

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First, I do a detailed drawing and use liquid frisket to save any little white areas.

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I, then, paint a value study of the reference in Payne’s gray. This could be done in neutral tint or sepia, also. I would think the color you would use for this phase would have to be considered a dark color in order to get strong value changes. Tim stated, in his article, that he applies his pigment in thick impasto in the darkest areas. I’ll have to try that sometime. I have not applied it that thick, as yet.

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Next, splatter with clear water. I use a two inch flat and load it with water. With the painting laying on the floor, I stand above it and drip the water over it copiously. On this one, I tinted the water a bit with Payne”s gray and also tilted the board to get some drips on this phase. I let that dry completely.

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Then I chose a warm and a cool color and splattered the entire painting with these two colors. Some artists pour the color over the painting and tilt the board to get a drip effect. After this, my darks had washed out some and I repainted many of them. I chose the colors Halloween Orange and Phthalocyanine Blue for my splatter colors. I wanted more color due to the subject material.

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Then I began adding color. I decided to put more color into this painting than my previous two. I thought the subject called for it. I had also taken time to view quite a few paintings by artists using this technique and saw that some of theirs had more color in them and that Tim had made mention that he allows the subject material and what is happening on the paper to guide him in how much color to use.  I also removed all frisket from the painting during this phase.

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I finished by lightly coloring the background items, darkening the background blacks and re- painting the darks in the foreground horse. With this painting, I splattered more blue and orange at the very end.

by Nancy Longmate

by Nancy Longmate

churubuscovalero

 

These are Nancy’s and my second paintings inspired by Carol King’s post here.

An interesting thing is beginning to happen with these. I have seen this happen, time and time again, in our watercolor classes. We study a technique and it grows into all forms of styles.  What I really like about this technique is the strength in value it lends to a scene and the element of interest the splatter and runs create.

I completely forgot to do a step-by-step with my painting but have another in the works that I will post that illustrates the monochromatic and splatter phases.

Our first attempts, with description of technique, can be found here.

My painting of a street corner is from a reference photo I took , near here, in Churubusco, Indiana. It is so small town Indiana!