Sunday Painters -- A Gnome a Day

Practice is what makes the lessons you learn stick. Nothing is a better inspiration to memory than trauma. :) So for you Sunday Painters, practice your figure painting by using statuary as the model....statuary that has loads of personality. What better than gnomes?

You will need:

1. 10x11" sections of 140# watercolor paper, with an 8x10" frame penciled inside the borders.
2. A Micron or Pitt Pen, black/waterproof/size .01
3. A basic set of watercolors, #8 round brush
4. water container, paper towels, sponge to dab wet brushes

For the next week, I will post brief descriptions on how I painted these and other gnomes.

The Lookout

I first noticed the Lookout Gnome, checking to see if the coast was clear. But as I turned, I noticed a movement on my left. As I glanced over, the guy in the yellow hat froze and he has stayed that way ever since. But I think I hear a growl now and then. Yoicks! I don't wanna be spade! :) Yes, I do know how to spell. (Click image to zoom)

UGGs

I had plans to paint with The Anacortes Sketchers today, but a strange thing happened on the way to the garage.

I had the oddest feeling that I was being watched. If you look carefully, you will see 4 figures hiding on my deck.
Before I knew it, I was kidnapped by UGGs (Unidentified Garden Gnomes), was rudely shuffled into the studio and forced to paint their portraits.

Watercolors being the way they are, the time I needed to allow for drying between washes used up all my afternoon. Sorry guys, but I think I can post a sketch tomorrow, if they don't catch me doing it. :)

Sunday Painters, "Gnome" for it

I thought I would share a lesson from my weekly classes with you Sunday painters.

Eventually, most artists want to include the figure in their work, either as the subject or as an element of the composition. It's common to be intimidated by one's own expectations of how it is going to turn out. Drawing problems, color, proportion, etc. all create challenges.

But what if you eliminate the worry of disappointing your subject or not creating a "likeness"? Choose statuary and your model doesn't move, squirm or need a break. You need a subject with a lot of character. Gnomes are hard to find in the wild, but there are lots of domesticated ones available right in your area. Simplify the process by sketching with line and wash.
"Gnome" out on a limb and give a try. It's a lot of fun!

Green in the Landscape, with Barns

These are the demos used in our lesson on "green in the landscape, with barns." (click to zoom)
Please refer to Tom Lynch and Tony Couch for more examples of their work.

Intro to Watercolor II at KAC

Here is our busy classroom today as we worked on mixing color, getting texture, glazing, wet in wet and more.

Students learned how to intensify color without getting "mud" while having fun with water drops, goldfish and an old red barn. If you zoom in, I think you just might see some of the results. 

5th Ave Repair - Sold

"5th Ave Repair" by Michele Cooper
Original watercolor line and wash
Size: 8x10". Sold

I took a walk in Seattle recently to enjoy a beautiful day in May. As I came around the corner, the street was sectioned off with traffic cones and I saw the scene sprinkled with cherry blossom confetti.

I love exploring a busy street scene with line and wash. 

Weathered Barn

The subject of an old weathered barn gives the artist an opportunity to work with the vast color field of greys.

Your challenge is to decide which greys to use and how you will arrange the rest of the composition. Tip: choose a field of grey that leans toward a secondary color, then accent with a low chroma complementary color.

Sunday Painters

Here's a project for you. Select a subject like a doorway or a window. Compose a painting using texture, color, and shape as the focus.
Remember to eliminate nonessential objects. Rearrange shapes, add color, enhance texture as needed.

Blue Shutters-Part 1

Here's a progression of the first painting stage of my class demonstration. 

Keeping it loose, I wash in the shape of the overhanging vine.

Then add the shutters, some shadows and another mass of foliage in the lower left with plans to connect to a flower pot.

I don't normally bring the windows (or anything else) into focus until the end, but for demonstration purposes, I am showing how to vary the colors, values and shapes of the window panes.

I wanted my students to see the range of values you create, preferably ahead of time with your value study.

To be continued.