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Watercolor Flow, Color, Concept and History
This document provides an overview of the first day of a summer 2016 watercolor class. It discusses key aspects of watercolor such as color layering, the importance of water and brush techniques. It profiles historical artists who worked in watercolor like Emile Nolde, John Singer Sargent and Joseph Turner. Examples of student works-in-progress are also shown. The instructor outlines the upcoming class schedule which will cover still life, master copy work, landscapes, portraits and a final project series. Techniques like abstraction and brush exploration are demonstrated.
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Watercolor Flow, Color, Concept and History
- 1. Watercolor First Day Summer2016 Glenn Hirsch, Instructor
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- 3. color that isLAYERED in TRANSPARENT glazes Emile Nolde 1923
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- 5. Emile Nolde German Expressionist artistsfavored watercolor to convey strong emotion
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- 8. flowing, spontaneous andfree John Singer Sargent, c. 1912
- 9. John Singer Sargent,c. 1920
- 10. Watercolor in aboutDRAWING John Singer Sargent, c. 1919
- 11. Watercolor is aboutPORTABILITY allows painting outside, capturing the moment Joseph Turner, Venice Sunrise, 1840, 8 x10 in
- 12. watercolor is aboutthe BRUSH
- 13. Brush technique canbe smooth and seamless, or wild and free or ... something in between
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- 16. A really flowingbrush- a wild party ! Andre Derain, c. 1910
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- 18. When brush marksare minimized, then watercolor can also achieve amazing photo realism! Mary Snowden, c. 1985
- 19. “Photorealist“ watercolor likethis demands perfect drawing which is then patiently 'colored-in' Richard McLean, 1975
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- 21. Student work, JohnHeisch
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- 24. ARTISTS FAMOUS FORTHEIR WATERCOLORS Franklin Booth Franz Marc Fred Martin Frederick Childe Hassam Georgia O'Keefe Gerard Richter Gustave Dore Helen Frankenthaler Honore Daumier John Constable John James Audubon John Marin John Singer Sargent Joseph William Turner Joseph Raffael Lisbeth Spenger Louise Stanley Mary Cassat Mary Snowden Maurice Prendergast Paul Cezanne Paul Klee Philip Pearlstein Raoul Dufy Robert Bechtle Sam Francis Thomas Eakins Thomas Gainsborough Thomas Moran Wassily Kandinsky William Blake Winslow Homer Albrecht Dürer Anders Zorn Andrew Wyeth Arthur Dove Arthur Rackham Arthur Szyk Charles Burchfield Charles Demuth Edmund Dulac Edward Hopper Egon Schiele Emil Nolde Eric Fischl Ernst Ludwig Kirchner Eugene Delacroix Francesco Clemente
- 25. watercolor was traditionallyused to plan large, complex oil paintings Eugene Delacroix, c. 1835
- 26. Watercolor was traditionallyused to capture nature Claude Lorraine, 1630
- 27. Before photography, watercolor wasused by explorers to document their travels Karl Bodmer (1809-1893), Portrait of Kiäsax
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- 29. Watercolor has always beenfavored by artists who use their imagination. Gustav Moreau (1826-1898) Sappho
- 30. Watercolor has always beenfavored by artists who use their imagination. Study for sculpture by Claus Oldenberg, 1964
- 31. Today many contemporaryartists continue to use watercolor as their primary medium Elizabeth Peyton
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- 34. watercolor is powderedpigment suspended in gum arabic, with a little glycerin and honey added. pigmentsare derived from minerals, plants or metals gum arabic is exuded by acacia trees, used in the food industry, in glue, as the binder for watercolor paints, and in incense. glycerinis a colorless, sweet, viscous liquid formed as a byproduct in soap manufacture. It is used as an emollient and laxative, and for making explosives and antifreeze. honeyadded so it's more gooey!
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- 36. control the valueof the color by DILUTING IT WITH WATER– start with very light tones and only use dark at the end
- 37. In a landscape,light tones recede and dark tones advance
- 38. paint the backgroundfirst and let it DRY
- 39. white paint isnot used instead the white is 'reserved' allowing the paper to show through
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- 42. “Reserving the white”= preserving the white paper where you want “white” Hirsch
- 43. Work from lightto dark Allow each step to dry before proceeding to the next
- 44. Step by Step Workfrom light to dark Allow each step to dry before proceeding to the next
- 45. Student work inprogress – on a large 30x40 paper taped to a table
- 46. the brown andpink is painted underneath, and then the dark blue sky is painted on top, after the bottom layer is dry !
- 47. Watercolor can alsobe combined with opaque white gouache or acrylic in a ‘mixed media’ technique. you can see white strokes painted on the hull of the boat, and then glazed over with a transparent blue. John Singer Sargent, (detail), c. 1920
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- 49. we use warmand cool versions of each color to enhance the feeling of “light”
- 50. the chromatic scale •Light to dark • Bright to dull • Warm to cool
- 51. The chromatic scale enhancesthe illusion of “light” • Lighter value in the light • Brighter intensity in the light • Warmer (orangey) red in the light (vs bluer purplish red) in the shadow
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- 54. Week 2 still life(apples) + more color ‘theory’
- 55. next week bringan apple to class
- 56. Then the homeworkis to paint a still life
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- 58. week 3: paint amaster study and then an original response to it
- 59. Student study of WinslowHomer and response (working from a photo)
- 60. study of OskarKokoschka and student response (working from a National Geographic photo)
- 61. Top: student studyof John Singer Sargent Bottom: response: painting of a figure
- 62. student study ofWinslow Homer and then a painting of student’s front yard in his style
- 63. Weeks 3-4: trees andlandscape space
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- 77. weeks 8-9-10 course project: aseries of 3+ paintings
- 84. what we’ll dotoday ABSTRACTION exploring the brush
- 85. How many waysare there to use a brush? Wet-in-Wet Wet-over-dry Stamping, Rolling, Scratching Dry Brush Impasto Transparent glazes
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