zondag 26 februari 2017
woensdag 8 juni 2016
I was a novice in watercolor, and I didn’t recognized the sublimity of this painter!
It was in the year 2014, I was looking for John Pike photo's I found a site from the Dutch artist Arie Jekel and when I saw the page from his inspiration I found John Pike, Edward Wesson, Edward Seago and Aubrey Phillips!
“When you can do it in less than one brushstroke you are on the right way!” (J. Zbukvic)
Colours : Ultramarine Blue, Cobalt Blue, Monestial Blue*, Cadmium Red, Alizarine Crimson, Burnt Sienna, Burnt Umber, Raw Umber, Raw Sienna, Light Red, Lemon Yellow, and Viridian, nothing more fitted in his paintbox
Brushes; A Hake 2,5 Inch and a 1 Inch flat, Nr 14 Sable round, nr 11 and 8 Sable round and a rigger nr 4
Tony van Hasselt
Alvaro CastagnetKees van AalstJan Groenhart
- Monestial Blue is Phtalo Blue, Rembrandt Blue or Winsor Blue
Click the link below
"brushes with watercolour"
zaterdag 5 maart 2016
De oorzaak is meestal de uiterste precisie van de kunstenaar, die er vanuit gaande, dat als je maar zo netjes mogelijk alles schetst of liever gezegd tekent, je dan ook beter alle verf binnen de lijntjes van de zorgvuldig gemaakte potloodstreepjes kan schilderen.
En dan natuurlijk wachten totdat het huisje droog is, zodat er weer verder gegaan kan worden met het volgende perceeltje, het huis ernaast wordt met dezelfde kleur geschilderd, en hetzelfde schaduwkleurtje wordt aangebracht. Alles netjes, maar jammer genoeg wordt het nooit één geheel. Ik chargeer nu natuurlijk, maar ook ik ben in die valkuil gelopen in het begin van mijn schilder carrière.
Die sfeer bepaal je nooit aan het eind van het schilderij, maar in de eerste opzet, tenminste op de manier die ik hanteer. Een goede vriend van mij is een meester in het sfeer inbrengen aan het eind van zijn schilderij, maar dit vergt jaren ervaring!
Om het voor uzelf eenvoudig te houden, kunt u het beste een foto uitkiezen die met tegenlicht gemaakt is. Dit is misschien niet de beste methode om een foto te maken, maar wel voor uw schilderij. Op deze manier verliest u al een hoop onnodige details en is het gedoe met kijken door uw oogwimpers ook niet nodig.
Kijkend naar de foto
Deze foto is met goede lichtomstandigheden genomen dus moeten we hem zelf vereenvoudigen, het makkelijkste is hem om hem dan in zwart/wit te zetten, of een fotokopie te maken.
We brengen de details aan die net dat beetje toevoegen om de huizen, bootjes en boompjes te onderscheiden. Ik doe dat met Ultramarijn Blauw en Light Red, de Light Red is een warme rode, die in tegenstelling tot Burnt Sienna niet een muisgrijs geeft, maar een soort warm blauwpaars-grijs, en hij is licht dekkend, maar dat is voor de laatste fase geen bezwaar. We vullen er immers geen grote partijen mee op! Ook hier weer, geen losse onderdelen, maar suggereer, en maak huisvormen, ipv huisjes, iets wat lijkt op een dak zal voor de kijker al snel een huis zijn! En omdat het al leek op water, zal ook iedere vorm die op het water ligt automatisch een boot vormen! zo eenvoudig is dat!
Dan als laatste nog een paar details van masten en hun touwen met witte aquarel verf.
Voor puristen ‘not done’, maar de eerder genoemde Rowland Hilder gebruikte het, maar ook William Turner en John Singer Sargent hadden het ook standaard op hun palet. dus wie ben ik om het te verbieden?
Maar dat een volgende keer
Every new book about watercolor I bought I look first which colors or paper my new hero is using.
and oh yes there it is… Fabrioarchi super rough paper he use!
Where is it? can I buy it? and try it to get better?
And look this other painter on Facebook have 3345 “likes” on his painting and I see on his website he makes the sky with tigereye morningblue and the shadows with Raspoutin Red Marsglow.
I bet when I buy this paper and pigments I can paint better.
Then the new book arrive or magazine, I see a amazing painter,
and he use brushes from Lapland, reindeer beard brushes.
Takes a lot of water and pigment. so that is how he makes such pretty washes! I need to buy these reindeer-beard stuff too!
Maybe I become better in washes??
in other words a quest with a longer road to get better.
And it is legal!
Sure is, but it is gear this artist is used to and we don't.
And maybe if the next artist comes in sight we change our gear again.
When he paints, he distilling the scene in his mind.
Makes a preliminary sketch or not and then make the watercolor.
All in a effortless motion.
I mean it not wrong, but it is like he look at the scenery and takes it to his brain-filter and he sees the watercolor in front of him!
He knows the best way to paint that particular watercolor.
We could say we know how his “filter” looks like.
If you don’t know how you going to paint your next watercolor in your mind. What will happen on the real paper?
Choose a good quality paper, buy something good, that is on sale maybe.
The brand is not important, as long as it is watercolor paper.
Paint a lot on that paper,make it yours, become to know every annoying or wonderful thing about this paper.
If your painting is not successful, its probably your skill on this paper that let you down, not the paper!
(I went from Arches to Noblesse, it took about 10 watercolors to get used again on new paper)
Number two is pigments, less important then paper but..
Buy from the brands you know that are good, it really doesn't matter which brand. And it doesn’t matter you use different brands together.
Don't buy a lot of colors, a beginners chest with 48 colors is in fact a nightmare for every beginning artist.
As a landscape painter you need probably 8 colors, maybe a few more but start with 8.
If you do portraits you need some special colors so you can make skin tones. I understand that. Or delicate flowers, then you need also a few more yellows and other pigments. But for a simple landscape 8 is sufficient. It brings you harmony and better watercolors that are in tune!
But they have already a good working watercolor filter, and we must work on that first.
I would recommend a Phtalo Blue, Cobalt Blue, Ultramarine Blue. Alizarin Crimson, a transparent yellow, Raw sienna, Burnt Sienna, Burnt Umber.
With these 8 colors you can mix everything, and they are all transparent so you can’t get mud. (Well you can, if mixing them all together!)
If you are on location, and you can’t mix a certain green, it doesn't matter. Use the green you like most to mix. And make it your green. people get to know you about your green, it becomes your specialty this green! Or purple or whatever which color you master. make these colors yours. Get to know them, and make it work to get them in your filter!
Then he received from the pigment-factory the artist quality pigments.
At first he wasn't happy at all. The colors he used to mix, came out very different. The setting of his filter was altered! He did get used to the new pigments after awhile.
Then you can imagine what happen when you are still searching for your own filter-settings (style)
I always go for the same few, cause they are familiar, and I know what I can do with them.
If I use 5 brushes in a painting that is a lot, usually I have a wash brush, a flat or a squirrel mop
A synthetic one with a nice point, a nr 8 sable and a rigger. And I use them in this order to.
But I stay with these few brushes.
Choose your brushes, and become to know what you can do with them,
Choose five brushes and paint with them so its like a extension from your hand, you become to know what you can do with these brushes, they become a part of your artist filter.
I know you need a lot of practice to paint watercolors, and its not just adjusting your gear and go. Its also your skill how to draw, see perspective and values.
When you have a photo camera, and you make every photo with a other setting, there are not lot of photos that will be good.
So you must know your settings and the photo or painting will be a lot better and easier.
And a few brushes, cause they know they can rely on this gear!
Think about it, maybe it will work?
woensdag 11 februari 2015
When you have a landscape on a photo and you like to paint this, and make this in a watercolor, the changes are big you copy every line and color on that photo, and will end up with a boring watercolor comparing to the photo.
You have to make changes in your painting that makes it a charming watercolor.
One thing you can do is make the colors and shapes more simple, looking to your eyelashes and discover the big lines in the scene. You could make a B&W photocopy, in that way you can make up your own colors. Take three colors close to each other, although they all say with the primary colors you can make every color, to make a unity in your painting those colors are to far apart to make it work.
Let see we take a photo from a landscape!
Nice one hey!! Great sky, nice reflections! just enough land to make it work!
This what I made of it. its tranquil, but also not a very exciting picture.
But I know it is not horrible, but it is copy from what is there.
Cobalt Blue, Auroliën Yellow and Burnt Sienna are the colors for a scene above.
So the red is in this case Burnt Sienna.
Now we must think, what can we do more, we have sky and water, and a bit of land!
Lets make a fog, and a bit of a misty scenery. Maybe I must have chosen a smoother paper, but I did paint it on rough Saunders Waterford.
I used Ultramarine Blue, Burnt Sienna, Olive Green, and a bit of Neutral tint!
You see its in harmony, just like the one before, cause I use just a few colors.
Neutral tint is good to make a color darker, but not dirtier!
After the misty scene I was convinced I could do one more, well I could go forever, cause you can make endless mixes with color, and every painting would look different.
Take other paper, use other brushes, every time you change something, the outcome will be different!
So I looked at my brushes, and there are a few flats, from three inch to just a quarter Inch.
My next painting will be made only with these! And I going to use fresh colors, so no red holding blues!
So in this one I used Winsor Blue, Sap-green, Cobalt Violet, and Raw and Burnt Sienna.
I didn’t looked at the photo for the last two watercolors , just made them by memory!
Just painting what is good for the watercolor, not looking for what is there, makes more interesting pictures!
Try to make a few watercolors from one subject, you can change colors, but also change the horizon lower or higher, or make this landscape with the paper on a different angle.
These were done all the same with the paper in landscape mode.
But you can also make this with the paper in portrait mode!
Good luck, but most of all have fun!!
vrijdag 5 september 2014
Kees van Aalst is a Dutch Watercolormaster.
Watching Kees van Aalst paint, is watching a skilled artist paint.
It looks so easy when you see it, but when you try it, you end up with a painting that looks like your little brother have made! Why is that?
40 years experience for a start, and he made this style of painting completely his own, its like a handwriting, you can try to copy this style, and you will succeed with something that looks like his, but you will miss the finesse and power in the more then resolute brushstrokes.
All his painting career he makes “Less is More” a fact, and makes even less, more less!
Suggestion and abstraction of scenes and objects are the main drive he will put in his paintings. Not only he use watercolor, but also Bister (made from Walnut shells) and diluted watercolor pigment, brought on the paper with a sharpened matchstick is part of his technique.
Large washes in the start, with fresh colors, usually with no more then three pigments.
Before he paints the subject, he choose what mood he wants in the watercolor.
And then he choose his colors.
In the workshops I followed, Kees made 6 or more examples what colors you can choose, and even just as much pencil thumbnails for contrast and tone. They are not complete paintings, but just quick notes for color and you can just discover the subject.
Kees always teach, you must not paint a boat, but people have to look at your art and say “hey that looks like a boat!”
The first wash was light and Kees kept a few whites on the paper, he saw a industrial scene in it, so his second wash he made the industry coming a bit more forward.
If you see mountains after your first wash, paint the mountains, its your imagine, and your art!
After that he will refine a second wash, with the same pigments, only stronger, and after drying he finish with detailed marks, these marks are not just put down randomly, but make the viewer look, where Kees want him to look. I know for a start that these last details are the though ones, you have absolute no clue where to put them. After practicing and lots of failures I start to know how. (a bit).
But for Kees its like writing his name down, Tjak Tjak he says often, and there it is! Small dots of pigment, stripes wide and narrow, brushed down with a rigger or matchstick all in the right place.
Don’t make the mistake it looks easy, but it isn't! All dots and stripes are highly visible, so a wrong one will stand out big!
These latest demos were published in the Dutch art magazine “Palet”
The above is sort of a Italian Piazza, the yellow glow, and purple haze makes you think of the Mediterranean. With a sharp matchstick Kees made some marks to give the idea from houses and a pillar in the middle. Then some accents in a cool color to give shadow-sides and variation on the buildings and all ready again! Less is More is so true here!
A small demo Kees made on one of his workshops.All was done in 10 minutes or less.
Don’t paint pictures, paint tones, shadows and moods. Paint to paint, not to make the best painting ever, but paint to enjoy yourself!
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