View Full Version : Starting December 23rd: The Pouring Watercolor Workshop with Annette Raff

12-19-2013, 12:44 PM
The Pouring Watercolor Workshop with Annette Raff
If you are tired of overworked, tight paintings that lack emotional response then you will love this exciting new approach to painting in watercolor. You will never quite know what to expect, when pouring watercolor paint but you can expect a highly individual and creative outcome. Annette Raff will help you to choose a suitable photograph of your subject, a person/people/animal in a natural setting, from which you will work..

The planning and conception stage of your painting is just as important as the painting process itself. In this course you will be introduced firstly to a new way of seeing and editing your subject with the focus on strong design. You will then learn to build your painting with successive multicolor pours to create a more unified composition and a more lively, light-filled painting!
Popular tutor, Annette Raff, will guide you right from the start in learning to see and interpret your subject in a new way, using the highly creative, and exhilarating technique of pouring paint.
This course is most suitable to those that have some experience in painting with watercolor.

Start Date: December 23, 2013 (http://anu.register.fwmedia.com/Course?CourseId=3081-2)
Course Length: 4 weeks
Tuition: 169.99
Instructor: Annette Raff (bio (http://www.artistsnetworkuniversity.com/meet-the-instructors/annette-raff))

Course Materials (Included in Tuition):

Video download – “Pouring Transparent Watercolor (http://www.northlightshop.com/video-pouring-transparent-watercolor-jean-grastorf?lid=anubscl092313)” by Jean Grastorf Retail: $19.99
PDF download – “Drawing a 3 Value Plan” by Annette Raff creating exclusively for students
“Putting People in Your Paintings (http://www.northlightshop.com/putting-people-in-your-paintings?lid=anubscl092313)“, by Laurel Hart Retail: $29.50REGISTER NOW (http://d1d7q0b0hpvdac.cloudfront.net/wp-content/uploads/anu-REGISTERNOW.fw_.png?87b98e)

How to effectively choose a photograph from which to work
Tips for creating a value plan
How to mask and pour watercolor
How to add darks and refine your watercolor paintingsWHO SHOULD TAKE THIS COURSE:
Beginning and intermediate watercolor artists
Watercolorists that are looking to add more life and ‘loosen up’ their watercolor workArt Supplies You’ll Need:
2B, and 6B graphite pencils sharpened to a good point
Kneadable eraser
Liquid Masking Fluid (I prefer the blue tinted types)
Watercolor Artist Quality Paints (tubes)
Pthalo Blue or Winsor Blue
Quinacridone Red or Rambling Rose
Aureolin yellow
Perylene Maroon
Quinacridone Gold
Gray value scale (you can make your ow`n)
Graphite Paper for tracing (see Jean’s video for testing your graphite paper)
Watercolor Paper
A4 or A3 size – Arches 140lb or 300lb, cold pressed or medium. (You will get the best results on the heavier Arches paper, although it is more expensive.
One small piece of scrap Watercolor Paper to test your colors.
Kleenex and rags
Large lid or flat container (larger in size than your watercolour paper to catch the “pour off” from your colors.
Small cups to hold your mixed colors.
Dropper to squeeze on color (I like to use this for dropping color into specific areas of my painting)
Stapler for securing paper to board
Brushes –
Watercolor flat – “1” (very soft, for wetting paper)
Round – small synthetic/taklon with a good point for applying masking fluid
Round – assortment of sizes including a size 8, 12 and some larger
Foam core board to stretch and support your paper a little larger than your intended paintingCOURSE SYLLABUS

REGISTER NOW (http://d1d7q0b0hpvdac.cloudfront.net/wp-content/uploads/anu-REGISTERNOW.fw_.png?87b98e)

Session 1 Instructions
“Preparing for Your Painting”
Part A – Choosing your photo
• Watch the complete video by Jean Grastorf “Pouring Transparent Watercolor”
• read the attached pdf “Drawing a 3 Value Plan” by Annette Raff to familiarize your self with the methods that you will be using during this Session.
• Read Chapter Three pp31-34 “Designing Strong Paintings” from the book “Putting People in Your Paintings” by Laurel Hart to give you insight into what photos make the best subjects and how to choose strong compositions.
Choose one or two photos that you think will make appropriate subjects for this style of painting and submit them to Annette for her to confirm suitability. Your photos should be of a person or group or animal that has good value contrasts, i.e. light, middle and dark values. The photo should have some areas that are directly lit by sunlight or artificial light. Avoid straight-on portrait style photos. Candid shots make for better subjects. Sometimes a side or back view can make a very interesting watercolor painting.
Note: As the Blackboard system will only allow one submission assignment per Session, you will need to submit this photograph to Annette for a ‘suitability check’ via email.
Part B – Value Plan (Once your photo has been submitted)
While Annette is checking your photo for suitability, make four value scales (See Jean’s example of a value scale) from (22:00 to 25:30) approx. You will need to make your own monochrome value scale firstly. Try to make 9 values ranging from the white of the paper to a black. It is useful to punch a small hole in the corner of each of your values so that you can lay your value scale over your photograph to compare values.
Now make a value scale for the other colors you plan to use, just as Jean describes in her video (21:50 to 25:30). Try to paint from a very light tint to almost pure color. This will require starting with a very tiny amount of paint and mostly water, paint a square and then gradually add just a tiny bit more pigment, darkening very gradually until your color is almost straight from the tube. Compare your color value scales to your gray scale. You will notice that you are not able to get as dark a value as you can with your monochrome value scale. There is no need to submit these value scales for assessment. This is your time to test your colors and get to know the consistencies required to reproduce the correct values in your painting.Once Annette has seen your photo and confirmed that it will make a good reference for you to paint from, you will be required to do your own 3 value plan. Re read Annette’s PDF “Drawing a 3 Value Plan” and follow the instructions to complete a line drawing and then a 3 value plan of your chosen photo, editing to simplify as necessary.
Homework assignment – Session 1
Part A
Submit one or two photos via email for a suitability check and await Annette’s advice before you go ahead with your drawing.
Part B
As per Session 1 instructions make a monochrome 9 value scale and a separate value scale for each of your colors. There is no need to submit these value scales as they will be used for your own reference.
Part C
Read and follow the instructions from Annette’s PDF “Drawing a 3 Value Plan” and complete your own value plan from your reference photo.
Scan or photograph your 3 value drawing and submit via the “Submit Assignment” link under “Session One” in Blackboard for evaluation.
Feel free to also post your work in progress in the Critic’s Corner, where you can get feedback from your peers & provide your own feedback for others.
Session 2 Instructions
“Transferring Your Drawing, Masking and the First Pour ”
Rewatch Jean’s video (16:10 to 20:15) where she describes her method of tracing her line drawing onto her watercolor paper. Follow Jean’s instructions and trace your own line drawing (previously prepared) onto your watercolor paper.
Rewatch Jean’s video (4:20 to 12:20) to learn about her method of masking the white values. You may use the method Jean describes for protecting her brush from the masking fluid or you may use the method I describe below.
Prop your value drawing and your photo reference where you can see them easily before you begin.
Annette’s Method for Applying Masking Fluid
Pour a little masking fluid into a small container and replace the cap on the bottle.
Roll your small synthetic brush (use one with a good point) in a bar of soap to coat and protect it from damage from the masking fluid.
Dip into the masking fluid and begin masking the areas on your value plan that are not shaded. Point your brush to the outside edges of the shape you are masking and be as neat as possible when applying the masking fluid.
Ensure that you pause every minute or so and rinse your brush in a separate container of water, then reapply the soap before dipping back into your masking fluid.
Allow the masking fluid to dry completely.The First Pour
Rewatch Jean’s video (25:30 to 32:00) on mixing her three colors. You will be using your three primary colors (Pthalo Blue, Quinacridone Red and Aureolin Yellow to also mix your colors into small cups or containers just as Jean does.. Test your pigments on a piece of scrap watercolor paper. Your colors should be approximately at value 3 or 4 on your value scale. Have a dropper and large soft natural hair brush ready. Have a water spray bottle handy in case you need it.
Have your pouring tray ready under your painting. Don’t forget to look at your value drawing and reference photo as you work. Do not be concerned with duplicating reality, but make your own choices on color. Be adventurous! Remember the color you put on now will become your light and middle value. If possible, try to leave some soft edged lighter areas as well.
Re watch Jean’s video (32:00 to 37:20) Begin by using a large soft brush to wet your entire painting gently but carefully with clear water and commence applying the pigment just as Jean does in her demonstration. Remember the process of pouring paint is not meant to be precise. You do, however have some control over whether you use dominantly warm or cool hues and approximately where you place these hues.
When you have applied the colors check closely to see if there are any little gaps, where you want color and push the wash into these areas with a brush. Wipe off any puddles of paint and droplets that have formed on and at the edges of your masking fluid.
Leave your painting to dry completely. This may be assisted with a hairdryer only after the sheen has gone from your painting. If using a hairdryer, hold well away from your painting and use on low heat. Note: Do not remove this masking fluid yet!Homework assignment – Session 2
As per “Session 2 Instructions” draw, mask and apply your first pour of paint. Let dry scan or photograph your painting at this stage and submit via the “Submit Assignment” link under “Session Two” in Blackboard for evaluation.
Feel free to also post your work in progress in the Critic’s Corner, where you can get feedback from your peers & provide your own feedback for others.
Session 3 Instructions
“The Second Pour ”
Liquid masking fluid can be successfully used to reserve areas that have been painted as well. Sometimes the masking fluid may lighten the color a little when removed. This problem is reduced, I find when using the blue masking fluid (the one without the ammonia). Also try using a very gentle touch when applying the fluid and don’t brush the painted areas more than necessary. Another factor is the length of time you leave your first layer of color to dry. If you can leave your first layer of color overnight the application of masking fluid is less likely to take off color when you do apply it.
Re watch Jean’s video (37:15 to 53:20).
Prepare yourself for the next stage of the masking process by studying your value drawing again. You will be applying the masking fluid to the areas that are middle value this time and leaving the areas unmasked that you wish to go darker. Proceed with masking the light/middle values on your painting, just as Jean describes in her video. Remember this time you will be painting a layer of masking fluid over some of your previously painted and dried color. This is where you will definitely need to refer to your value plan! Let your masking fluid dry completely before beginning the second pour.
You will need to slightly darken your colors just as Jean does by adding a little more pigment to your cups of color. Make sure you test your colors again. You can compare these colors to your last test of colors to make sure they are a value or two darker.
Have your spray bottle nearby in case you need it. Remember to gently but carefully wet your entire painting before beginning the second pour. You should be aiming to pour (or squeeze from your dropper or brush), your warm colors over previous warm colors and your cools over previous cools. The colors are going to run and mingle, but don’t be too concerned. Remember you are not trying to duplicate the colors in your photo.
Absorb any beads of wet paint sitting on and at the edge of your masking fluid. Leave your painting to dry completely.
View Jeans video (53:20) to see Jean’s methods for removing masking fluid. When your painting is thoroughly dry you will need to use your mask pick up eraser (frisk remover) to remove your dried masking fluid. Be very careful to ensure that your painting is totally dry before doing this. Run your hand lightly over your painting to ensure there is no masking fluid that you have missed.
Homework assignment – Session 3
Scan or photograph your painting and submit via the “Submit Assignment” link under “Session Three” in Blackboard for evaluation.
Feel free to also post your work in progress in the Critic’s Corner, where you can get feedback from your peers & provide your own feedback for others.
Session 4 Instructions
“Adding Darks and Refining your Painting ”
Rewatch Jean’s video (57:30 to the end). You will need to now take a good look at your painting and compare it to your value plan and your photograph. Stand well back from your painting and check to see where you may need to darken areas. There may be lights that you need to ‘glaze’ over to push back in your painting. This time you will be using a “direct painting method”.
Mix two or three colors (on a palette) that you will use to glaze and darken some areas. You should have warm and cool color. This is where you can use additional colors such as Perylene Maroon or other darker red, Quinacridone Gold, Burnt Sienna and Pthalo or Winsor Blue. It is up to you as to which colors you will use. Once decided, squeeze your colors onto a palette this time or some shallow dishes. You will be using your brush to mix and apply the color this time using a ‘direct painting’ method. The color should still be transparent enough to see through it to the underneath colors. You will have to use your own judgement on your choice of colors as well as where you think you should glaze. Don’t forget to test your colors.
Remember to retain fresh pure color you will need to repeat warm color over warm and cool over cool. You may wish to use Burnt Sienna, just as Jean does on skin colors, or you may use Perylene Maroon mixed with Quinacridone Gold for a vibrant warm. Keep stepping back to judge your painting and compare it to your value plan. You may need to soften some edges by adding a little water to the edge of your color while it is still wet. If color has dried you can try scrubbing the edge to soften. Be careful not to overwork your painting at this stage. Remember the aim is not to recreate an exact replica of your photograph. This is a simplified version of your photograph and as an artist you must use artistic license!
Homework Assignment – Session 4
Scan or photograph your completed painting and submit via the “Submit Assignment” link under “Session Four” in Blackboard for evaluation.
Feel free to also post your work in progress in the Critic’s Corner, where you can get feedback from your peers & provide your own feedback for others.
Well done – you have completed this course in pouring transparent watercolor!
A Final Note from your Instructor!
Any new method of painting requires practice. It is of huge benefit to repeat this painting at least once, to gain full benefit from this course. You will have made mistakes and discovered better ways of doing things in the first painting and these lessons can be applied to your next attempt. Each time the technique will become easier, but not always … watercolor has a way of keeping us ‘on our toes’! That’s what I love about this medium, and this method of painting. You never quite know what to expect, but when one works it is usually ‘wow’!
Enjoy the journey!
Warm regards
Annette Raff