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Watercolor-Just-Got-Easier
November 18, 2008
Hi

WATERCOLOR PAINTING JUST GOT EASIER FOR YOU

NO MORE TIME WASTING WITH TRIAL AND ERROR

SUPRISE YOUR CLOSE ONE'S WHEN THEY SEE YOUR PAINTINGS

IF YOU THINK YOU CAN PAINT OR IF YOU THINK YOU CANNOT PAINT YOU ARE RIGHT.

YOU CAN LEARN TO PAINT BEAUTIFUL WATERCOLORS. WHAT IS WRONG WITH - BLACK

Although Black is rarely used by to-days Watercolorists (I for one). It was an essential component of every artist's palette from the Renaissance to mid-19th century. It was the Impressionists who discarded Black as well as earth tones. They began working only with pure spectral colors. Their more traditional Contemporaries - Monet, Whistler, Sargent, retained Black on their palettes It is said that Sargent was amazed that Monet could paint without it. Most Watercolorists to-day employ some variation of the Impressionists palette and rarely include Black as a pigment, or as a component in their color schemes. Let it be said, that I always told students that if they had Black on their palette they would be led off in handcuffs. Black never quiet seemed to go very well with those bright clean looking colors. It looks like a bull in a china shop. Times have changed around my thinking. I still don't use a tube named Black, but mix a very dark Black from Permanant Alizarin Crimson with Pthalo Green, you could try also other Reds, Namely Permanent Rose - Rose Lake etc. This combination can be very Black looking or a very light gray, depending on strength of colors and amount of water. Love to put the light Grays in the cloud formations. Try it. A touch of a mixed Black will produce when added to pure colors - deep shades. Picasso is reputed to have said "when I don't know what color to use, I use Black. It always works. Most of us Watercolorists will have trouble when we try to introduce Black into 0ur color schemes. It just doesn't seem to fit with the light airy tints so common in Watercolor. So lets be sneaky with our darks. Gosh you might even decide to add Black.to your palette So lets sneak in your darks. Don Andrews made this statement to a group of us Watercolorists. "most Watercolorists seem wonderfully color oriented when painting the lights in their landscapes, they fill these areas with vibrant and lively color. When they address the shadow areas, they seem to lose their concern for color and resort to COLD ,INKY DARKS In truth the shadow pattern in painting is where the richest, most exciting color possibilities can be found". Problem Darks A common problem I continually see in the classroom is a lack of color excitement in the shadow patterns of my students' paintings. Their shadow area appear murky or unnecessarily dark. It seems that artists automatically reach for dark blue pigment whenever they describe a shadow. In truth the shadow pattern in a painting is where the richest, most exciting color possibilities can be found. When observing the passages of light and shadow on a model or in the landscape,notice that a strong light source can make the subject's color seem diffuse or washed out. The shadow areas will report a deeper, richer value of the local color. While the lights in your subject are usually quite limited in value range, the shadow patterns offer a wider range of values from light-middle, middle-dark, to dark. This fact goes to the heart of this color concept. I believe the most vivid color range on our palette revolves around middle-values and that's exactly where most shadows exist. We're limited when we paint light values: we either leave white paper or dilute our colors to indicate illuminated areas. However, then we paint the shadows, we're able to use pigment much stronger and, if we're willing, just as creatively Solving the problem of murky darks There are a couple of factors that contribute to the problem of murky or overly dark shadows. Many shadow problems develop from a poor color/value selection. For instance, if you first paint in the lights with warm, dominant washes and then overlay the shadow pattern with cooler washes in a similar value and intensity, these opposing color temperatures can create a murky, neutral shadow. To overcome this problem, try to mostly stay in the same color temperature for shadow patterns as in the lights. Richer mixtures of similar colors or color temperature will keep the shadows clean and vivid.] Not all shadows have to be painted in analogous colors. It's O.K. to have color temperature changes in the shadow pattern, if these colors temperature changes are strong enough to overpower the underlying wash. Put simply if you're going to switch from warm to cool, or vice versa, put the pigment down powerfully. SHADOWS AREN'T NECESSARILY COOL OR DARK Shadows aren't necessarily cool or dark, though there's nothing wrong with occasionally describing them that way. Shadows can be as color-varied and experimental as the lights. Try painting the shadows with rich middle-value Reds, Greens and Violets. The trick is to use richer, undiluted mixtures of local color rather than automatically reaching for the Blues or dark neutrals - or both. Remember to paint through the value scale with your subject. Don't skip the middle-value range - live there! Build as many steps around middle-value as possible. Middle-value is where your best color opportunities lie, and that's where the majority of the shadows are found. DON'T RUSH INTO DARKS Darks are necessary for emphasis, but don't rush into them. And remember: less is more. Save the darks in your shadows for special accents placed after you have developed the majority of shadow shapes in the middle-value range. A DIFFERENT APPROACH One or the best ways to create clean, powerful shadows it to paint them first. Leave the light on the figure or landscape and begin the painting by addressing the shadow pattern. This is especially effective when the majority of your subject is found in shadows. It is important to begin with a little stronger value statement when painting the shadows first. I'm often fooled into thinking I am being bolder in values than I'm actually being, because I'm visually comparing this first wash to the white of the paper. So, start with a rich, light-middle value and work through the value scale from there. REMEMBER: Clean, vibrant shadow patterns and shapes will enhance any subject you paint. And middle-value is the key to a successful shadow pattern statement. When you study your subject, you'll realize that middle-value is where most shadows exist. We will not be here next week, you will be "Thanksgiving" and so will we. Have a great holiday - Jim

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