Post Your Dailies here...120 Paintings

[LarrySeiler]

Some folks asked how to go about starting a blog...

If you go to http://www.google.com/
you'll be in an area where you can elect to start free email...but also create a blog. Called "blogspot"

I think you could go to http://blogspot.com/ or even visit anyone's blog...and perhaps at the bottom click on links to start your own. I have my blog listed in my thread signature. Check it out...

Its free...there are several easy steps using the templates they provide. You pick a background that appeals to you...and start loading up images and share about them. In time...you can go to the design page, add a bio about yourself, etc.,

Its a learning curve...but not that big of one...! ;)

[libby2]

Thanks Larry!

[Judibelle]

Hi Larry....Loving your presentations!
May not get to do daily painting, but will keep up as best I can...

Here is my first attempt at a bowl of Chriostmas ornaments..
http://www.wetcanvas.com/Community/images/10-Mar-2012/103700-scan0003.jpg__120paintings_1.jpg
Sorry the top of the candle got cut off by the scanner...
9x12 with soft pastels

[Declan]

Thanks, ArtCat -- I hope we can support each other. I've thought a lot about this in the past 24 hours (while making and discarding several pictures) and have decided that I do want to take on this challenge, including creating my own blog. Very few people have ever seen anything I've done -- I hide them or throw them away. My only change to the challenge is that I shall not limit myself to a painting. It might be a sketch while I try to figure out some perspective or a value study, but it will be something that I have focused seriously on for at least an hour. It will be good to number the attempts and see if there is progress. Nell

[libby2]

My second Daily, done Sat. 3-10. This is in oil, I gave up on trying to get acrylic to blend the way oil does. In my first painting (acrylic) I'd used a lot of matte medium both on the canvas and w/the paint itself (along with frequent misting of a mix of stay wet and water to keep the palette wet), thinking that I could move the paint around like oil. My pre-mixed colors wouldn't stay wet long enough. Just didn't work the way I wanted

So with this one I went with oils. I love oil, how it feels, mixes, smell, the way they stay open....just don't like the way it takes so long for them to dry. Wish a quick blast of the hair dryer would dry them up. :evil:

I took care to paint just an hour (1:02 actually), pre-mixing the paints didn't figure into that time because it takes me too long to do that, and then all my time would be used up.

Oil on canvas covered board, appx. 5 x 7 w/a neutral grey gesso ground

http://www.wetcanvas.com/Community/images/10-Mar-2012/977256-2a.jpg

[libby2]

Larry, I'm a bit confused about the split complementary palette: the mixing part. I have fr ultra blu, cad yel med, cad red med, pthalo blu, aliz. red perm, cad yel (lemon) light genuine, t. white. Btw my preferred blue is pthalo. So I want my palette to have the dominate color to be a blue color, lets say ultra blue, do I not mix that at all? Just leave it alone, or mix some neighbor colors into it? Ooo, actually I'm more than a little confused because I'm use to splitting my palette btwn ultra blu, cad yel med & cad red med, then the other side: pthalo blu, aliz red, cad yel light (lemon). So, should I knock out some colors and just go w/one red, one yellow & one blue? Then mix some secondaries, then go w/that? (I also have tubed secondaries violet, green, orange if that helps) :eek: (if there were a smilie w/the eyeballs spinning I'd use that!) Any help would be appreciated, I'd like to give it a whorl on my 3rd Dailie. Thanks!

[Artcat369]

Thanks, ArtCat -- I hope we can support each other. I've thought a lot about this in the past 24 hours (while making and discarding several pictures) and have decided that I do want to take on this challenge, including creating my own blog. Very few people have ever seen anything I've done -- I hide them or throw them away. My only change to the challenge is that I shall not limit myself to a painting. It might be a sketch while I try to figure out some perspective or a value study, but it will be something that I have focused seriously on for at least an hour. It will be good to number the attempts and see if there is progress. Nell
****************************
sounds good Declan. I think the main goal overall is to grow as an artist - both in the technical aspect as well as practical application...find one's stride, passion, style, etc. So, I'm looking forward to your and everyone else's attempts and support too!- Artcat.:rolleyes:

[marionh]

http://www.wetcanvas.com/Community/images/10-Mar-2012/977256-2a.jpg
Nice reflected light in the shadows.

[libby2]

Thanks Marion!

[LarrySeiler]

So with this one I went with oils. I love oil, how it feels, mixes, smell, the way they stay open....just don't like the way it takes so long for them to dry. Wish a quick blast of

the daily is a chance to experiment...either trying a media less familiar with, or taking what you are familiar with and pushing some aspect. If oils feels best...stick with oils, and exhaust some directions and find a new level of mastery..

This is really quite marvelous...so good for you!!! :thumbsup:

[LarrySeiler]

Larry, I'm a bit confused about the split complementary palette: the mixing part. I have fr ultra blu, cad yel med, cad red med, pthalo blu, aliz. red perm, cad yel (lemon) light genuine, t. white. Btw my preferred blue is pthalo. So I want my palette to have the dominate color to be a blue color, lets say ultra blue, do I not mix that at all? Just leave it alone, or mix some neighbor colors into it? Ooo, actually I'm more than a little confused because I'm use to splitting my palette btwn ultra blu, cad yel med & cad red med, then the other side: pthalo blu, aliz red, cad yel light (lemon). So, should I knock out some colors and just go w/one red, one yellow & one blue? Then mix some secondaries, then go w/that? (I also have tubed secondaries violet, green, orange if that helps) :eek: (if there were a smilie w/the eyeballs spinning I'd use that!) Any help would be appreciated, I'd like to give it a whorl on my 3rd Dailie. Thanks!

yeah...this is a very streamed down strategic palette.

I painted for a good 20 years with a split-primary palette...which was a warm and cool variation of each of the main primaries...plus a few other colors.

pthalo blue is one I like with the color temp driven palette..but with the limited palette I trimmed down to for plein air painting, I used only French Ultramarine blue...

Phtalo is a little strong...a bit on the green side.

in essence...the RYB color model is just that, a model. Folks get hung up on the pigments and a movement has gone on trying to eliminate or replace the RYB with a number of more modern varieties.

The point is...it is only a concept...one that has worked for eons with master painters.

so...when you do the split-complementary palette...you are in essence pretending

The dominant color is that...you put out more paint, it is the dominant color seen and referred to.

If blue-green is your dominant color, you mix up a pile of that.

Okay...to be honest, you're going to have a different blue-green using Fr Ultra versus phthalo...so, its not about picking one that appeals say to my tastes, but a blue-green that looks good to you...and represents the dominant color you are sensing, seeing.

If one is not going to use black...and the blue has to be a rich dark, as it will push the values.

Okay..so, let's go back now. If blue-green is the dominant color, then orange is one split...and red is the other.

Here is where the pretending comes in. Orange...is going to represent your yellow. Red will be red. Blue-green is going to be your blue.

So, if you want to mix greens, your green will come from blue-green mixing with orange (pretend yellow)...

You will definitely get a "type" of green from mixing that...and not one you might ordinarily seek to get...but, the beauty with a palette strategy is you create and then force an imbued harmony in the color. It then creates a perfect unifying mood...

hope that helps clarify some...or posits this in a way you might ask further questions..

[libby2]

Thanks Larry!

[Dougwas]

Well, Larry, I accept your challenge. I even started a blog to chronicle the journey. I have attended both webinars and will purchase it when it becomes available. I will paint all the still life paintings from life, but any landscapes will probably be done from photos. It would be difficult for me to go out and paint plein air, but I will try to figure out a way I can do it. I haven't given up yet.

Here are my first four paintings. I started this experiment before I accepted your challenge, but I figured it was a good way to start. This was done to see how a different under painting color can affect the scene. They are all painted with soft pastel and are painted on 5 x 7 UArt 400 grit paper. They took longer than an hout to paint, but I got quicker the further I went along. I added the mountain in the background to give more depth and the small tree on the right to keep the eye in the painting.

I know I have a ton of things to learn, but I can't think of a better way to learn. Thanks for the challenge.

Violet Under Painting

http://www.wetcanvas.com/Community/images/11-Mar-2012/102199-Violet_Painting.jpg

Magenta Under Painting

http://www.wetcanvas.com/Community/images/11-Mar-2012/102199-Magenta_Painting.jpg

Turquoise Under Painting

http://www.wetcanvas.com/Community/images/11-Mar-2012/102199-Turquoise_Painting.jpg

Yellow Ochre Under Painting

http://www.wetcanvas.com/Community/images/11-Mar-2012/102199-Yellow_Ochre_Painting.jpg

You can see all the under paintings on my blog.


Doug

[libby2]

yeah...this is a very streamed down strategic palette.

I painted for a good 20 years with a split-primary palette...which was a warm and cool variation of each of the main primaries...plus a few other colors.

pthalo blue is one I like with the color temp driven palette..but with the limited palette I trimmed down to for plein air painting, I used only French Ultramarine blue...

Phtalo is a little strong...a bit on the green side.

in essence...the RYB color model is just that, a model. Folks get hung up on the pigments and a movement has gone on trying to eliminate or replace the RYB with a number of more modern varieties.

The point is...it is only a concept...one that has worked for eons with master painters.

so...when you do the split-complementary palette...you are in essence pretending

The dominant color is that...you put out more paint, it is the dominant color seen and referred to.

If blue-green is your dominant color, you mix up a pile of that.

Okay...to be honest, you're going to have a different blue-green using Fr Ultra versus phthalo...so, its not about picking one that appeals say to my tastes, but a blue-green that looks good to you...and represents the dominant color you are sensing, seeing.

If one is not going to use black...and the blue has to be a rich dark, as it will push the values.

Okay..so, let's go back now. If blue-green is the dominant color, then orange is one split...and red is the other.

Here is where the pretending comes in. Orange...is going to represent your yellow. Red will be red. Blue-green is going to be your blue.

So, if you want to mix greens, your green will come from blue-green mixing with orange (pretend yellow)...

You will definitely get a "type" of green from mixing that...and not one you might ordinarily seek to get...but, the beauty with a palette strategy is you create and then force an imbued harmony in the color. It then creates a perfect unifying mood...

hope that helps clarify some...or posits this in a way you might ask further questions..
Thanks for answering my question. (weird that it didn't show up on my machine when I was here earlier)

This seems like a really dumb question, but I'm going to ask anyway: in addition to the mixes I can dip into the original mixing pigments, right? Say I'm using one each red, blue & yellow. I'd need to use those to enhance and stretch the color range of the piles of premixed colors.

Thanks again for taking the time to answer and comment on my paintings.

btw, w/ultra blue the only blues & greens I get are khaki's & olives, but w/pthalo blue I can get any blue and green, bright or dull. I've tried ultra blue but haven't figured out the trick, even w/just the tiniest tick of anything hinting of yellow it goes olive. :lol:

[DaveGhmn]

....

btw, w/ultra blue the only blues & greens I get are khaki's & olives, but w/pthalo blue I can get any blue and green, bright or dull. I've tried ultra blue but haven't figured out the trick, even w/just the tiniest tick of anything hinting of yellow it goes olive. :lol:

Does your paint tube tell you the pigment number(s) for your ultramarine blue? The historical synthetic UB (PB29) has magenta in it. Yours would appear to have even more magenta than most.

For about a year, I've been using pigment primaries only -- phthalocyanine blue PB15:3 (Cyan), Magenta (PR122 & my favorite brand mixes in PV19), lemon Yellow (PY3), plus white and very rarely blacK. (CMYK is what is used in 4-color process printing).

As you say, phthalo blue + yellow makes a grand range of pure-ish greens, but, boy, some of them are in-your-eye and/or acid green. Taming them with at least some magenta is almost a necessity. UB-based greens are excellent for plein air landscapes -- in nature most greens are red-modified.

Tedious further explanation:
The American school system defines "primary" colors as red, yellow and blue. The printing world and European schools define "primary" as cyan, magenta and yellow, usually lemon yellow or Hansa yellow, PY3. This is why you see C, Y and M sold as "primary blue," "primary red" and "primary yellow" in most paint lines coming from Europe.

The American system is a somewhat illogical mix of transmitted colors (using colored light, as in your monitor) and subtractive or reflected colors (the colors created by bouncing light off pigments). For practical purposes, the actual primaries in transmitted color are red, green, and blue... which is why your monitor has RGB pixels.

In oil painting, most of our colors are subtractive/reflected... light bouncing off pigment on a reflective surface (paper or canvas).

I don't recommend the subtractive primary palette if you're just starting out. I've been using it to learn what hues are in traditional pigments, and once I feel that I have them mastered I'll go back to a more conventional palette. It still surprises me that fire-engine red is a mix of magenta + yellow... and it surprised me to find how much magenta is in an ultramarine hue.

[LarrySeiler]

Thanks for answering my question. (weird that it didn't show up on my machine when I was here earlier)

This seems like a really dumb question, but I'm going to ask anyway: in addition to the mixes I can dip into the original mixing pigments, right? Say I'm using one each red, blue & yellow. I'd need to use those to enhance and stretch the color range of the piles of premixed colors.

Thanks again for taking the time to answer and comment on my paintings.

btw, w/ultra blue the only blues & greens I get are khaki's & olives, but w/pthalo blue I can get any blue and green, bright or dull. I've tried ultra blue but haven't figured out the trick, even w/just the tiniest tick of anything hinting of yellow it goes olive. :lol:

On your question about splits..

When you mix your piles up...a dominant and the splits...unless you run out and need to mix up more, leave the other color pigments alone. They don't exist. If you are accustomed to using black, fine...plus white.

After you have somewhat mastered the basic concepts you might then make it a point to experiment with adding an additional color...but, when you limit yourself to the use of these three colors, plus white and black, you are forced for the most part to use all three in your mixing. This forces an imbued harmony and creates the mood.

When you introduce an alien color without the understanding gained from some mastery you will likely fail to use it in a way that maintains that harmony.

What you have to imagine is that a light (such as the sun) is bathing a color over everything.

White under a yellow light...still reads as white where the narrative infers to the mind such should be white ordinarily.

I made the mistake one time driving 120 miles in winter to a spot to paint, and grabbed the wrong paint bag. When I set up, I discovered I had removed my white paint from it. I wasn't too happy, but rather than come home with my tail tucked between my legs pouting, I gave myself an assignment...and decided that Naples Yellow pale would be my white. I used it for tinting, for white itself.

The winter painting turned out pretty cool...and I learned something-

http://www.wetcanvas.com/Community/images/12-Mar-2012/532-gintycreek_nowhite.jpg

Its limiting yourself to what you are allowed, sorta like a game...to see how the game plays itself out. In time, you'll discover there are many limitless possibilities.

The other thing we'll be getting into in the last couple Go To Meeting sessions are color palette strategies, the split-complementary is only one that I play with. I have for myself about a half-dozen games...or strategies I'll incorporate. Often in the moment, my gut hunch will simply dictate which one I'll use...

You have a point about Fr Ultra Marine blue...and when I first started to paint plein air, getting out of the studio, I was overwhelmed with an explosion of color...and my color temperature split-primary palette helped a good deal...and phthalo blue as well.

When you first start attending concerts...large concerts (for example last summer I saw U2...and was about 8' from Bono and Edge...)...you are overwhelmed with the light show, the technologies, the stage. Your senses are in overdrive and you hardly know where to look. That was sorta my wake up experience going from the studio where I painted for so many years to suddenly outdoors.

however...as a musician, taking my boys to concerts and music festivals during their growing up, my own band experiences...you come to be less shall I say distracted by anything other than good musicianship. While others are mouth dropped by U2's 360 degree turning stage, ramps that move and go over your heads they walk out on, and a jumbo tron screen that raises, lowers and changes shape...I found myself amazed to watch Edge play guitar. Especially in a two hour down pour rain storm. Or the bass player. You listen for distinctions in sounds others are not listening for.

As I painted more and more...I came to see something in nature, something quite unexpected. After getting my fill of all the color...I started seeing all the neutrals. Nature is filled with so many grays.

In mixing paint...and limiting myself, (see when I first embarked on a limited palette journey, I thought I'd exhaust its possibilities in less than a month...and that was now six years ago!), I've learned how to create nearby color that would work to influence my reds to appear more expanded, in some cases cooler, in some cases warmer. I learned how to make my blues richer and brighter, or more subdued and cooler by other color that would be adjacent and have influence. I'll get more into that in another session soon.

But...yes, Fr Ultramarine Blue is more subdued...and the greens not as intense.

A problem for many that paint outdoors though...is that their greens most often get away from them and one of the most common questions any workshop plein air instructor hears is how to get control over the greens.

For me...I've learned a number of strategies, and one is using reddish undertones that excite the greens, but at the same time imbues a forced overall harmony pulling all the greens in all their variations together.

Now...having painted full hilt color for so many years, and now putting myself thru the regimen of six years experimenting with the limited palette, I am once again re-introducing some of my older split-primary color temperature driven color. I feel I have gained some responsibility over them and the sense to maintain control.

It is one thing to possess a gift...quite another when the gift takes over and possesses you...

http://www.wetcanvas.com/Community/images/12-Mar-2012/532-greens_comp.jpg

Here is a comp thrown together of some of my efforts learning such control. Initially I was quite strick with using no other colors but Utrecht Fr Ultramarine Blue, Utrecht Cadmium lemon yellow, W&N Bright Red, and white.
Then...about a year into the experiment I added the "sometimes use" of Naples Yellow pale. Then about a year after that, painting along the shores of Lake Superior and a unique green to that body of water, I added the "sometimes use" of viridian.

It is a lovely green...something of a phthalo in nature, but not so overpowering as phthalo green or phthalo blue is.

I'll now often mix my skies with Fr. Ultra blue...naples yellow, and a touch (touch) of viridian...plus white.

It has become a discipline. Something I held myself to to exhaust what I might learn and then be able to report on. Over the years I've been told I simply cannot paint darks dark enough without black...but my work I believe in the comp demonstrates that has not been true. That my greens will lack, and I suppose they could be stronger...but the harmony I set in my canvas causes the level of greens I'm using to work as a unified component, and represents nature well.

As said...I'm little by little experimenting with more color again. I guess when a guy that used to be an artist this past fall stopped by and gave me about $900 worth of his paints I took it as a sign!!! hahaha...

[LarrySeiler]

...in nature most greens are red-modified.




a pretty decent overall analysis, Dave!! :thumbsup:

at the base level...its what looks right to the eyes, what routine one builds to easily and simply enough pull that together.

When I first challenged myself to experiment with the limited palette...Scott Christensen was the artist we many in the plein air forum referred to...

at the time, Marc Hanson and myself were sharing quite freely in the forums about our experiments and so forth..

I know Marc's preferences for reds differ from mine...and my premise has simply been what "looks" right to my eyes.

I have a lot of paint...reds, but...in challenging myself to use but one for this limited palette experiment...I came to the following conclusions (again pertaining to my needs, what looks right for my eyes)...

I don't need a red that appears cooler sliding into the purples/violets. I can add a touch of blue to lean that way. I don't need a red that appears warmer toward the orange spectrum...I can add a touch of yellow to do that.

For that...Winsor & Newton's Bright Red fit the bill.

For a yellow, I went with Cadmium Lemon Yellow. Don't need the yellow warm or leaning toward orange, because again...a touch of the red accomplishes that. Plus the cooler yellow gives me more options, and adding white to a medium yellow would only suck the energy out of it.

Painting outdoors...and keeping notes with others, and taking into consideration for example Van Gogh's assessment of the light in Arles, France compared to Paris or anywhere else...I pretty much conclude the greens in Hawaii...with the sun high and overhead, different atmosphere will impress the eye quite differently than say the greens here in the northern midwest of the continental US...

thus...even when folks will ask, well...what palette do you use? Its something of a misnomer. That is...if a person painting along the coast of California decides to imitate my palette that works for me here in Wisconsin.

In my studies of Edgar Payne...folks wondering what palette he used specifically...again, I think even for Payne that changes when he decides to paint in the harbors of Massachusetts or California...or in the canyons of Arizona...etc,

There is a lot more education and growing understanding of the value of the pigment numbers, thinking in terms of color terminology as pertains to printing, monitors and so forth. Having predated all that...I have found the RYB colorwheel to work fine for my purposes...and in line with a lot of what past instructors/painters used and taught. But...its important I think that reference to a colorwheel model as used in the past to now is abstract in nature. A concept that you begin with, modfiy, experiment and use. It is not set in concrete such as what might be necessary in textile industries or printing. A specific color language is required commercially and understandably.

But the simple logic of various palette strategies such as split-complementary, triads, using a mother color or pigment soup...use YOUR commonly used familiar pigments in a imbued relative manner. You adjust, recognize the differences and it registers as to a working solution or no. Relative to even the light and atmosphere of your geo-location.

http://www.wetcanvas.com/Community/images/12-Mar-2012/532-532-tonewheel_illustrated.jpg

I like simple models...which give you a platform to experiment..

this tone wheel I came across in an old old book on color...and talk about it in an old post-
http://www.wetcanvas.com/forums/showpost.php?p=7397633&postcount=95

showing how it can be used to understand the works of past masters...
calling it a tonewheel...

fun stuff...

[libby2]

Dave thank you for responding and the excellent explanation.

Does your paint tube tell you the pigment number(s) for your ultramarine blue? The historical synthetic UB (PB29) has magenta in it. Yours would appear to have even more magenta than most.
Yes, every single one of them. I thought that was ultramarine blue. I have W&N Artists, & Winton, Gamblin and Utrecht.

For about a year, I've been using pigment primaries only -- phthalocyanine blue PB15:3 (Cyan), Magenta (PR122 & my favorite brand mixes in PV19), lemon Yellow (PY3), plus white and very rarely blacK. (CMYK is what is used in 4-color process printing).
I love those colors and the possibilities. In the past I've done some beautiful serigraphs of the sequois with CMYK inks, not garish at all, yet to look at the inks themselves they were bright.

I'm really starting to like Cad Lemon yellow PY37 and how it blends with Pthalo PB15, Aliz Crimson is either PR177 Anthraquinone red (W&N Winton I like the blends it makes) or Gamblin's Aliz Crimson which is a blend of PV19, PR149 & PB 29.

As you say, phthalo blue + yellow makes a grand range of pure-ish greens, but, boy, some of them are in-your-eye and/or acid green. Taming them with at least some magenta is almost a necessity. UB-based greens are excellent for plein air landscapes -- in nature most greens are red-modified.
I don't mind adjusting with crimson, to me that's just fine tuning. I never thought about the greens in nature being red based, it makes sense though.

Even though I've been painting on & off for 45 years I consider myself a beginner, maybe not fresh out of the bag beginner, but still a beginner.

Thanks Dave.

[libby2]

Oh man Larry! Off to dinner, be right back. :)

[libby2]

Wow Larry. If you are getting those blues & greens (the binoculars & harmonica) from Utrecht's fr. ultra blue & Utrecht's cad lemon yellow pure then I'm not only impressed but sold on fr. ultra blue (Utrecht's).

Limiting forms a nice structural place to focus, which is what I need. I'm easily distracted, and when there's lots of pretty colors available I'll smear lots of them around instead of discovering what a few of them can do. I took a great class last fall at Syracuse Univ. and he had us use the split palette I mentioned earlier, it was educational - and wonderful. We mixed and mixed and mixed, then mixed some more. He'd come around, say no that's not the right color, so we'd mix some more. Amazing how many colors can come out of RYB! :lol:

I'm ready to try something a bit different now. I already have *your* Utrecht Cad Lemon Pure, W&N Bright Red, and just a bit left of Utrecht's Fr. Ultra Blue., plus white. Now that I understand, I'm itching to paint. I'm blown away by the range of blues & greens you get with with these three. Interesting, interesting interesting.

Wonderful mood the Naples Yellow Pale gave to your 'almost didn't do' winter painting. Good thing you didn't turn back!

Thank you so much!

[LarrySeiler]

wish we had a "like" button...Libby.. 8^)

[libby2]

Yeah that'd be a nice addition!

[libby2]

#3. Split complementary using Utrecht's fr. ultra blue, Utrecht's cad. lemon pure, W&N brilliant red, and t. white. Made three mixed piles, shown at the upper right edge, probably not the best choice to end up with, but it was my first time. Really had problems w/the blue-green, could not get what I wanted. I know what color piles I'd make if I were to paint it again.

Larry, how do you get the colors w/ultra blue that you've shown in the comp above (post #516) to look like they have either pthalo or viridian in them (I'm looking at the binoculars & harmonica)? Hints most appreciated here. :D

Anyhoo, here's my painting, in case you might be wondering, it's a gold candy tin. :lol: appx. 5x7 oil on canvas covered board.

http://www.wetcanvas.com/Community/images/13-Mar-2012/977256-3.jpg

Thanks!

[LarrySeiler]

Your painting is titled "split primary" ...though, really...I know what you mean...but, as I'm starting my day out here very shortly, teaching....thought I'd try and list some threads, pages from online searches where I talk and even break down the strategy..

http://www.wetcanvas.com/forums/showthread.php?t=437595

video...painting a banana-
http://www.youtube.com/watch?v=afAtQvWuTSs&feature=player_embedded

video explaining demonstrating split-complementary palette-
http://www.youtube.com/watch?v=YU6_08YFAFw&list=UUZDBuvZOvnYw08ReQ2euiLQ&index=15&feature=plcp

From color theory forum, hall of fame- Clarifying use of split-complementary palette-
http://www.wetcanvas.com/forums/showthread.php?t=399105

and a search on my blog, brings up quite a few past postings on the concept, a good number of past paintings of mine, etc.,
http://larryseiler.blogspot.com/search?q=split+complementary

You have a number of options with that palette...one, by sensing outdoors what the predominant color of the light is...at the moment, you can create a moody work based on the color driving the narrative.

Another...you can opt to ignore what the actual present mood is, using nature more as simply a reference, and imbue a wholly other mood electing a dominant color that is not represented by the existing light.

If I have a moment today...I'll mix a bit of paint, take some pictures and share on the blue-green question.

Living in the northwoods, a national forest...we don't have the high speed connection where I could simply connect my Canon XL video camera and go live online. There would be too many buffering/streaming issues. Do what I can...sorry on that.

[DaveGhmn]

Libby, a quick note --
In post #516, Larry mentioned that
Then about a year after [using a touch of Naples yellow pale], painting along the shores of Lake Superior and a unique green to that body of water, I added the "sometimes use" of viridian.

It is a lovely green...something of a phthalo in nature, but not so overpowering as phthalo green or phthalo blue is.

(By the way, there are very few bodies of water more beautiful than the limestone green of Superior and Lake Michigan...)

I'm pretty sure those blue-greens are viridian based. Here is a capture from a Google image search on "viridian" -- see what you think:

http://www.wetcanvas.com/Community/images/14-Mar-2012/188440-TraViridian.jpg

[jmcedeno]

Hi Larry, I'm sorry missed your class Tuesday and also will tomorrow Thursday, is any way to get these classes if they have been taped ?

[LarrySeiler]

Hi Larry, I'm sorry missed your class Tuesday and also will tomorrow Thursday, is any way to get these classes if they have been taped ?


they are being recorded, and F&W publications will be making them available to purchase as a series. Very likely in early April... ;)

[Dougwas]

Here is painting #5. It is a 5 x 7 gouache painting, painted on cold press watercolor paper. I normally paint with pastels, but I wanted to try the split-complementary palette and see what colors I could come up with. I think I will play with gouache some more and get used to having a brush in my hand. This is painted from life. My palette was lemon yellow, ultramarine, magenta and white Daler Rowney gouache. I do have M Graham gouache, but I will use the less expensive brand to start out.

Thanks for looking.

http://www.wetcanvas.com/Community/images/14-Mar-2012/102199-Pear_March_14.jpg



Doug

[libby2]

Thank you for responding Larry (and thanks for catching my mislabeling "split primary"), you are very generous with your time. You gave a great list of links and further suggestions, I do appreciate your taking the time to post them before work.

Really, I'm not trying to get you to do my work for me. I've read through pretty much most of them (today and in the past), and in the past months I've done searches of your posts looking for information on split complementary. I think my confusion is that I misunderstood and was thinking that fr. ultra blue could produce the viridian type greens. It's OK that it doesn't, I just don't want to continue in the frustrating belief that it does. I just misunderstood, sometimes I mis-read things. Now I can let go of that notion and get on with discovering what fr. ultra blue can do....and when I need a viridian, well, then I'll whip out my viridian. :D

Thanks again, and great webinar yesterday. :thumbsup:

[libby2]

Dave, I believe you are correct and I misunderstood.

I'm from Michigan and agree with you on the lakes there. Here in central NY we have beautiful parks, one, Green Lakes State Park, has water that is an incredible, clear blue. I think both lakes are meromictic lakes, but I don't think that's the reason for the color.

http://www.wetcanvas.com/Community/images/14-Mar-2012/977256-Green_Lakes.jpg

Libby, a quick note --
In post #516, Larry mentioned that


(By the way, there are very few bodies of water more beautiful than the limestone green of Superior and Lake Michigan...)

I'm pretty sure those blue-greens are viridian based. Here is a capture from a Google image search on "viridian" -- see what you think:

http://www.wetcanvas.com/Community/images/14-Mar-2012/188440-TraViridian.jpg

[DaveGhmn]

Libby, had to look up "meromictic" - I don't know, but several of the meromictic lakes in the Wikipedia article ARE strikingly blue-green. Superior and Michigan get far too much roiling to qualify, especially Superior...

Equally incredible is the color of glacial lakes, where (we were told at Glacier National Park) colloidal particles from the abrasion of the moving glaciers causes the refraction.

[Dougwas]

Here is number 6. Another gouache painting using a split complimentary palette. This time I used cobalt blue (hue), cad red (hue), cad yellow (hue) and perm white. The cobalt blue dulled the cad red down. I should have used ultramarine to get a more vibrant violet red. Live and learn.

This is painted on 5 x 7 cold press watercolor paper. I painted this without a drawing. The most difficult stroke was the first one. It may not be the most interesting painting, but it is my daily painting #6.

http://www.wetcanvas.com/Community/images/15-Mar-2012/102199-Orange_and_Mug_March_15.jpg


Doug

[jmcedeno]

they are being recorded, and F&W publications will be making them available to purchase as a series. Very likely in early April... ;)

Thank you Larry.

[libby2]

Here's today's daily. Again split complementary, I tried to stick with "a brush stroke laid is a brush stroke stayed", didn't do it in the background though.
Btw it's a sea-glass window ornament (in case you confuse it with a gaudy dressed up pear in a bow)

Oil, appx. 5x7 on canvas covered board

http://www.wetcanvas.com/Community/images/15-Mar-2012/977256-4.jpg

[libby2]

Dave, Wikipedia does say that being meromictic contributes to the color, but I seem to remember from many, many years ago being told that Green Lakes has something in it that causes that particular green (microbe, mineral, can't remember, harmless what ever it is). It's quite stunning from one angle when the sun is on it, not quite as brilliant otherwise.

I'd like to see Glacier National Park. Must have been a fabulous trip for you.

Libby, had to look up "meromictic" - I don't know, but several of the meromictic lakes in the Wikipedia article ARE strikingly blue-green. Superior and Michigan get far too much roiling to qualify, especially Superior...

Equally incredible is the color of glacial lakes, where (we were told at Glacier National Park) colloidal particles from the abrasion of the moving glaciers causes the refraction.

[Tresgatos]

Managed to do a plein air painting today of some Iris I have growing in my garden. Tried to remember everything one needs :confused: :eek: This is one of the few plein air paintings I've attempted.

Painted on a 11 x 14 sheet of primed canvas taped to a board - left 1 1/2 inches around edge just in case I might want to put it on stretcher - kind of after the fact - does that work?? Anyway, I am also starting to work with WN water soluble oil paints and used some drier in it. I guess I can consider this one of the 120 paintings - have some others I've done in my "studio" but haven't posted them here yet. Can't manage to do one a day but am painting a lot more than I had been.

Constructive critiques welcome.

Barbara

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-EMAIL__MY_IRIS_GARDEN_-_PLEIN_AIR_-_03-17-12_DSC_1005.jpg

[Tresgatos]

Here are some other paintings I did as part of the Artwork from Life thread. As long as it is from life I would guess that it would count - hope to finish up the two plein air desert scenes I did about a month ago - those are a real struggle for me - always have so much more to learn. I'll keep trying. I want to get some gouache and try my hand at that - looking forward to Larry's demo.

Barbara

Carnations - watercolor

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-2_-_Flowers_Real.jpg


Washboard - Watercolor and Ink

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-1-_Old_Fashioned_-_Wash_Board_and_Tub.jpg




Red Onion - acrylic

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-Item_1_-_Onion.jpg



Red Pepper - watercolor on wc paper with gesso painted on it

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-Item_2_-_Pepper.jpg


Resting Hummingbird - quick study - I was sitting in the garden and this bird stopped by to rest for awhile - I had a chance to do a quick sketch and then went inside and did the painting - he is a frequent visitor - we have a feeder for him

http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-2_-_green__hummingbird.jpg


Red Grapes - watercolor and ink


http://www.wetcanvas.com/Community/images/18-Mar-2012/113757-1_-_rasberry_-_red_seedless_grapes.jpg

[Journeyman]

Just borrowed some pots from my friend Jill and painted this one while listening to the Rugby match on Saturday :)

http://www.wetcanvas.com/Community/images/18-Mar-2012/95424-WC_Live_14.jpg
6½"x5" Oil, palette Winsor Yellow, Red and Blue.

A good result, at least for the Rugby Wales won the grand slam:D

:wave: Dave

PS Thanks for the Webinar Larry the concepts and the way you are teaching and getting things over to us are superb.

[LarrySeiler]

I'm from Michigan...


we have a cabin in the Marquette/Negaunee area...and I've taught workshops up there as well. Love spending time around Presque Isle, Wetmore Landing..and the Pictured Rocks...

After a ride out of Munising to view the shoreline of Pictured Rocks...(about 40 miles worth and many many pictures taken later), I was inspired to try and paint the impressions of the water...

This was in 2004 where I was at the height of my using the split-primary palette, and I sought out and added viridian to my palette to help. Up until painting Lake Superior, the palette had served me well...but as said, needed to add viridian.

these three came from that 2004 outing and that palette...
http://www.wetcanvas.com/Community/images/18-Mar-2012/532-lakesuperioroils_comp.jpg

then, after the 2006 commitment to experiment and try to exhaust the limits of a limited palette...I painted this one setup on location...now, the only blue was Fr Ultramarine blue. As said, I include the sometimes use of viridian in this limited palette...and Naples Yellow...(which I did here) and felt I did some justice to the color (of that particular day) of Lake Superior...

http://www.wetcanvas.com/Community/images/18-Mar-2012/532-wpresque_isle.jpg

[LarrySeiler]

Here's today's daily. Again split complementary, I tried to stick with "a brush stroke laid is a brush stroke stayed", didn't do it in the background though.
Btw it's a sea-glass window ornament (in case you confuse it with a gaudy dressed up pear in a bow)

Oil, appx. 5x7 on canvas covered board

http://www.wetcanvas.com/Community/images/15-Mar-2012/977256-4.jpg


commended on your interests to get the feel of this palette strategy down. In the back of your mind you can bank on what Emile Gruppe taught, that near any color scheme can be used so long as the values are spot on.

There are two directions one can really aim for with the split-complementary palette strategy. You can paint the colors of the splits directly...but subordinate their amount to that of the dominant color. But...it would be like painting with red, yellow and blue...choosing say blue the dominant color...and then laying in pure and varied values of yellow and red.

I say that...because the gist (for others reading along) is to pretend that the splits and dominant are representative of the RYB colorwheel. IF yellow-green were the dominant color, then violet and red would be the splits.

To "pretend"... with those three colors, yellow-green would be the yellow of choice, violet would pretend to be the blue, and red the red.

Then mix your colors from those piles as if painting normally. Need green? Mix yellow-green and violet to get a proxmity/interpretation of green. It will appear greenish in context...and is a green that fits within the harmony of the dominant color yellow-green.


IF one can picture a particular light outdoors bathing everything seen, a red chair would appear how? Under a blue and white stripped deck umbrella?

Just clarifying for others following along here, Libby...this is good, and I give you kudos too for aiming on the brevity of brush control!! :thumbsup:

[LarrySeiler]

Managed to do a plein air painting today of some Iris I have growing in my garden. Tried to remember everything one needs :confused: :eek: This is one of the few plein air paintings I've attempted.


good for you!!! You need to cultivate a habit of more attempts painting fro life...



Painted on a 11 x 14 sheet of primed canvas taped to a board - left 1 1/2 inches around edge just in case I might want to put it on stretcher - kind of after the fact - does that work??



If you have enough material around the image, sure...but don't "stretch" as in applying it too tight. The paint rooted in the ground and the weave...drying to a unit. Taut...but not beyond.

The other solution is to adhere it to a piece of hardboard or masonite with a ph neutral acid glue...or even acrylic medium.


Anyway, I am also starting to work with WN water soluble oil paints and used some drier in it. I guess I can consider this one of the 120 paintings - have some others I've done in my "studio" but haven't posted them here yet. Can't manage to do one a day but am painting a lot more than I had been.

If you noticed on the image I share in the 120 Paintings session, Jeff was painting on average about three such smaller studies per week. Do what you can, make it routine so that you'll sense the loss if you miss doing it, which helps fuel the drive.


A simple criticism I would offer is when squinting the eyes...I see too close a value similarity in the lower flowers to the background behind it. Alter with color contrasts, value...play up variation. What is forward of the midground and distance must feel forward, even to the point of overstating.. :)

[LarrySeiler]

The cobalt blue dulled the cad red down. I should have used ultramarine to get a more vibrant violet red. Live and learn.

Even so, there is a harmony here...that was forced or imbued. I too would have sided with the Fr Ultra Blue...with the redder denominator..still interesting to see, and the exercise serves a good purpose even if for this reason.



This is painted on 5 x 7 cold press watercolor paper. I painted this without a drawing. The most difficult stroke was the first one. It may not be the most interesting painting, but it is my daily painting #6.

http://www.wetcanvas.com/Community/images/15-Mar-2012/102199-Orange_and_Mug_March_15.jpg


Doug

The orange being so dominant in its color...one suggestion might be to have a reddish-orange tone to paint over...such as a matboard, allowing hints of the color to come thru dispersed throughout the work, which would unify and tie the orange in, even a pretty dominant blue environment. Might be a study worth trying out...

good..!

[LarrySeiler]

Just borrowed some pots from my friend Jill and painted this one while listening to the Rugby match on Saturday :)

http://www.wetcanvas.com/Community/images/18-Mar-2012/95424-WC_Live_14.jpg
6½"x5" Oil, palette Winsor Yellow, Red and Blue.

A good result, at least for the Rugby Wales won the grand slam:D

:wave: Dave

PS Thanks for the Webinar Larry the concepts and the way you are teaching and getting things over to us are superb.


Nice rich color, Dave...lookin' good. Thanks for the comment as well...appreciated

[LarrySeiler]

Here are some other paintings I did as part of the Artwork from Life thread. As long as it is from life I would guess that it would count - hope to finish up the two plein air desert scenes I did about a month ago - those are a real struggle for me - always have so much more to learn. I'll keep trying. I want to get some gouache and try my hand at that - looking forward to Larry's demo.

Barbara


nice grouping of work, Barbara...shows you have a good handling of the media..

in the last session, question and answer time...I gave what sounded (when I thought about it in hindsight) what might be construed a fairly negative response to why it appears I don't paint much with watercolors. Seemed I tripped, hemmed and hawed..

I'll share some of my own watercolor work soon...but my methods are a bit different. I tend to like using watercolor in my sketchbooks...to wash color over ballpoint black ink pen sketchings. There was also a short duration of excitement on my part when I purchased a book featuring Sargent's watercolors because when I did...I saw I was applying color with watercolor in a similar broken direct brush manner...which isn't really all that traditional where washes and such are taught.

These are fine...keep it up!

[Tresgatos]

Larry - thank you for your feedback - really appreciate it. I'll re-visit the plein air flowers and adjust colors to create the feeling of depth.

Barbara

[LarrySeiler]

shared this elsewhere, but will post here as well...
It came up in my last Go to Meeting a question as to why I may or may not do much work with watercolors. I have done a number of things...one, I do like watercolor washes over black ink ballpoint pen sketches in my sketch book...when I'm watching movies (a fun exercise)...or at conferences, meetings...etc.,

http://www.wetcanvas.com/Community/images/18-Mar-2012/532-sketches_comp1.jpg

and...I also mentioned I often take stacks of paintings and wrap in Kraft paper, or just store in a hutch, and totally forgot about thirty watercolors I saw today. Took photos, and will include them in my session...but here is a small comp of a few. The sizes average around 6"x 9"...some 8"x 10" and a couple larger...

http://www.wetcanvas.com/Community/images/18-Mar-2012/532-landscapes_comp1.jpg

I should probably mat and frame a good number of them. What can I say...I do a ton of work, and forget about a good many of them!

Watercolors did not seem to suit my manner of working 'til I purchased a book of Singer Sargent's watercolors. His direct manner of putting spots of color down appealed to my alla prima maner of working...and proceeded to experiment straight away...

[libby2]

Here are my two paintings for this weekend, both are of the same subject, Round Lake at Green Lakes State Park. The first was using the split complementary palette. I'd gone out and picked up a color wheel, figured I'd been mucking around with the wrong colors, so I mixed up a pile of blue-green, orange, and left the red as it came from the tube. I also used viridian because of the green in the water. I just couldn't get what I wanted, it didn't work. Very frustrating. Time less than an hour painting.

Decided to try again the next day, thinking about it overnight I just needed to have some fun painting, so I went back to my basic split primary, but I would make a "mother" mud mix. As I was premixing the colors, I noticed that I was mixing piles of blue-green, purples, and browinsh-oranges. Hmmm. I had 3 piles of blue greens, one purple and a brownish-orange from Pthalo blue, and a matching set from Fr. Ultra Blue. Other than the extra greens, what's the difference I wondered....AH! I like to use the pure pigments mixed in, and mixed together when I paint. I also like - no make that Love - to use different piles of the main colors, in this case green, at the same time. I like to use "warm" and "cool" colors (as they compare to each other because I'm not good at seeing it in nature yet) to create depth. So I painted, had lots of fun. I also paid attention to my brush strokes on this one, previously I'd been using one that works for acrylic but doesn't in oils. You can see it in the tree leaves.

And I'm wondering how I can work backwards to get it down to fewer piles of paint. Maybe I can figure it out.

Here they are, #5 and then #6, oil, both appx 7x9, canvas covered board, preprimed a mid grey.

http://www.wetcanvas.com/Community/images/18-Mar-2012/977256-5.jpg

http://www.wetcanvas.com/Community/images/18-Mar-2012/977256-6.jpg

[libby2]

I'm from the LP, spending summers around Traverse City and Leland. So much beauty in the landscape there, loved the area. That was years and years ago though.

These are gorgeous Larry. I can see in the last one with your placement of color in the foreground that, because of contrast, how the blue stands out against the tans. And how the greens stands out in the water under the crests. You've mastered it.

You know, your colors look so clear and bright. I have to play with it more to figure out how to keep from getting the mud.


we have a cabin in the Marquette/Negaunee area...and I've taught workshops up there as well. Love spending time around Presque Isle, Wetmore Landing..and the Pictured Rocks...

After a ride out of Munising to view the shoreline of Pictured Rocks...(about 40 miles worth and many many pictures taken later), I was inspired to try and paint the impressions of the water...

This was in 2004 where I was at the height of my using the split-primary palette, and I sought out and added viridian to my palette to help. Up until painting Lake Superior, the palette had served me well...but as said, needed to add viridian.

these three came from that 2004 outing and that palette...
http://www.wetcanvas.com/Community/images/18-Mar-2012/532-lakesuperioroils_comp.jpg

then, after the 2006 commitment to experiment and try to exhaust the limits of a limited palette...I painted this one setup on location...now, the only blue was Fr Ultramarine blue. As said, I include the sometimes use of viridian in this limited palette...and Naples Yellow...(which I did here) and felt I did some justice to the color (of that particular day) of Lake Superior...

http://www.wetcanvas.com/Community/images/18-Mar-2012/532-wpresque_isle.jpg

[libby2]

Thanks for your continued coaching Larry! I'm going to keep at it because I want to figure it out.

Now off to bed, can't keep my eyes open any longer...

commended on your interests to get the feel of this palette strategy down. In the back of your mind you can bank on what Emile Gruppe taught, that near any color scheme can be used so long as the values are spot on.

There are two directions one can really aim for with the split-complementary palette strategy. You can paint the colors of the splits directly...but subordinate their amount to that of the dominant color. But...it would be like painting with red, yellow and blue...choosing say blue the dominant color...and then laying in pure and varied values of yellow and red.

I say that...because the gist (for others reading along) is to pretend that the splits and dominant are representative of the RYB colorwheel. IF yellow-green were the dominant color, then violet and red would be the splits.

To "pretend"... with those three colors, yellow-green would be the yellow of choice, violet would pretend to be the blue, and red the red.

Then mix your colors from those piles as if painting normally. Need green? Mix yellow-green and violet to get a proxmity/interpretation of green. It will appear greenish in context...and is a green that fits within the harmony of the dominant color yellow-green.


IF one can picture a particular light outdoors bathing everything seen, a red chair would appear how? Under a blue and white stripped deck umbrella?

Just clarifying for others following along here, Libby...this is good, and I give you kudos too for aiming on the brevity of brush control!! :thumbsup:

[LarrySeiler]

Here are my two paintings for this weekend, both are of the same subject, Round Lake at Green Lakes State Park. The first was using the split complementary palette. I'd gone out and picked up a color wheel, figured I'd been mucking around with the wrong colors, so I mixed up a pile of blue-green, orange, and left the red as it came from the tube. I also used viridian because of the green in the water. I just couldn't get what I wanted, it didn't work. Very frustrating.

Libby...I appreciate your interest in the "split-comp" palette...but of the limited palette strategies, that is but one approach.

The simplest is just to use the limited primaries, sometimes viridian..sometimes Naples and from that mix as near you can the approximate colors...but in few necessary values...dark, mid, light and white..

The split-primary is a legitimate good palette...based on color temperature..but, would encourage you not to abandon necessarily what you might learn of the limited palette due to frustration of one of a good many strategies possible.

Tomorrow night, I will be sharing a number of such strategies in the Go To Meeting...

[Dougwas]

Here are 7, 8 and 9.


This is a 5 x 7 pastel painting and is painted from life. I went for the complementary pair of red and green.
http://www.wetcanvas.com/Community/images/19-Mar-2012/102199-Pear_and_Bottle_7-120.jpg

This is a 5 x 7 gouache painting using a split complementary palette of cad yellow, ultramarine, magenta and perm white and is painted from life. It is painted on buttercup Pastelmat, a surface that Deborah Secor uses for a lot of her gouache paintings. I like it and have a good supply of all the colors, so I can see some experiments in the near future with pastel paintings on top of gouache under paintings

http://www.wetcanvas.com/Community/images/19-Mar-2012/102199-Lemon_and_White_Plate.jpg

And finally, a small landscape painted from a photo I took behind our old house in Houston, BC. For this one I stayed with mostly a warm palette in the yellow/ orange/ red family, using soft pastels. It is also 5 x 7 and painted on brown Pastelmat. I am starting to really like this paper for pastel.

http://www.wetcanvas.com/Community/images/19-Mar-2012/102199-March_19_Fall_Landscape.jpg

Doug

[LarrySeiler]

Doug...an assignment for you specifically. I'd like you to spend some time in the Plein Air forum and go thru some pages til you find Kyle...from Wisconsin. Your color...your flatter broader interpretation with the brush and shapes...I believe Kyle's work on location in Wisconsin would be totally inspiring for you. I want to know what you think? Maybe check out his blog....

[Dougwas]

Larry- Thanks for pointing me to Kyle's blog. I just spent an hour going through it and liked what I saw. The two things that stuck out to me were the simplified shapes and the broad brushstrokes. It gave me some ideas that I want to work on in the next few days. I want to get the gouache out and see what I can do.

There are so many different styles and methods out there and this challenge is a perfect time to try things out. Thanks again. I will be heading back to Kyle's blog and take another look at his paintings.


Doug

[LarrySeiler]

Good for you, Doug...and Kyle has such a wonderful color sense. He has grown much and come far in a relatively short time. Truly for him it was seeing those simple reductions of what is essential painting from life, and the poetic color that relates to mood...

I see some similar traits in perhaps your journeying...

[CaKatt]

Larry, Thank you for your presentation on Palette Strategies today. It was the first time I had heard of having a palette strategy and I am trying to wrap my mind around it How blessed your students are to have you as a teacher.
This is number one of my 120 paintings adventure and I thought it would be a good strategy to begin with 4 value studies. 5x7 oil on panel from a photo mostly done with a palette knife. It was a struggle to pare so much information (color and value) down to four values.http://www.wetcanvas.com/Community/images/20-Mar-2012/197736-0014Val.jpg It feels clumsy and awkward but anything new does.

[LarrySeiler]

May have been a struggle indeed cakatt...but to my eye you have something here...

Keep in mind when you simplify, others interacting have been given liberty to embellish...an invitation. Overworked, their imagination has been robbed of such an invitation. Here...I can sense the depth illusion and that is success in my book! Keep it up!

[CaKatt]

Todays submission is of the same photo expanded with halftones. Basically, I just took yesterdays painting and added halftones. I hope that's not cheating.
I think I begin to understand some of the reason for simplifying and leaving some detail out for the viewer to fill in, to use their imagination and be a part of what they see, a participant.
For halftones I mixed 4 values between black and white resulting in 6 values to work with. I understand this simple palette, it's the next few palette steps I am not understanding. Methinks I shall be seeking a thread on the last session with Larry about palettes. I need some clarification.
http://www.wetcanvas.com/Community/images/21-Mar-2012/197736-002_6Val.jpg
5"x7" oil on panel b-w halftones

[libby2]

Larry, last night's webinar was inspirational. Gave me new clues to looking at the split complementary palette. Thank you! What I found particularly of interest was the anchoring by values exercise. Thinking about it made perfect sense, kind of simultaneous Ahah! and D'oh! moments. :lol: (Sometimes I have to get something by going in backwards.) So the brilliant moment in my brain came when I was looking at the three piles of toned paint on your palette, extrapolating this out and.......ahhh!....three piles on MY palette can each become toned piles of paint. Some things are just agony to the old brain until figured out, you know? :rolleyes:

Anyway, have a new painting and think I'm getting a better handle on the split complementary business. Added black & yellow ochre to the basics, and yo out of the tube looked to be about the same as the preprimed indian yellow. Still not happy with the trees, have to figure that one out, but much, MUCH happier with the mix overall (even though it is a *bit* yellow). And realizing I still have a lot to learn, I don't feel like I'm banging my head against a brick wall anymore.

#7 Oil, preprimed canvas covered board in an Indian Yellow PY139 (gads I love that color) and t-white in clear gesso w/grit of some sort. appx. 7x9. Green Lakes State Park

http://www.wetcanvas.com/Community/images/21-Mar-2012/977256-7.jpg

I wish this webinar class went on for a few more classes. I've learned so much from you. Thank you for taking the time to help me, can't tell you how much that means to me.

I will explore the Zorn palette, it is one that has been of interest to me. Thanks for mentioning it!

[LarrySeiler]

Todays submission is of the same photo expanded with halftones. Basically, I just took yesterdays painting and added halftones. I hope that's not cheating.
I think I begin to understand some of the reason for simplifying and leaving some detail out for the viewer to fill in, to use their imagination and be a part of what they see, a participant.
For halftones I mixed 4 values between black and white resulting in 6 values to work with. I understand this simple palette, it's the next few palette steps I am not understanding. Methinks I shall be seeking a thread on the last session with Larry about palettes. I need some clarification.
http://www.wetcanvas.com/Community/images/21-Mar-2012/197736-002_6Val.jpg
5"x7" oil on panel b-w halftones


this is fantastic...and good for my heart to see...thank you!

yes...the real magic is not what is seen, but happens with what is not seen. Manipulating the viewer to see beyond what is not even there...which makes them an interacting partner...a co-creator. You are trusting by some degree the viewer's capability to do this...but you are winning souls that celebrate in your engaging them!!! :thumbsup:

[LarrySeiler]

Larry, last night's webinar was inspirational. Gave me new clues to looking at the split complementary palette. Thank you! What I found particularly of interest was the anchoring by values exercise. Thinking about it made perfect sense, kind of simultaneous Ahah! and D'oh! moments. :lol: (Sometimes I have to get something by going in backwards.) So the brilliant moment in my brain came when I was looking at the three piles of toned paint on your palette, extrapolating this out and.......ahhh!....three piles on MY palette can each become toned piles of paint. Some things are just agony to the old brain until figured out, you know? :rolleyes:

Understand!!! ;)



Anyway, have a new painting and think I'm getting a better handle on the split complementary business. Added black & yellow ochre to the basics, and yo out of the tube looked to be about the same as the preprimed indian yellow. Still not happy with the trees, have to figure that one out,


It'll come...step by step...

...but much, MUCH happier with the mix overall (even though it is a *bit* yellow). And realizing I still have a lot to learn, I don't feel like I'm banging my head against a brick wall anymore.

What every instructor would hope to hear...!!! Especially those of us from the pre-internet days!!! :D



#7 Oil, preprimed canvas covered board in an Indian Yellow PY139 (gads I love that color) and t-white in clear gesso w/grit of some sort. appx. 7x9. Green Lakes State Park

http://www.wetcanvas.com/Community/images/21-Mar-2012/977256-7.jpg

I wish this webinar class went on for a few more classes. I've learned so much from you. Thank you for taking the time to help me, can't tell you how much that means to me.

I will explore the Zorn palette, it is one that has been of interest to me. Thanks for mentioning it!


You are thinking I think now more beyond the flat surface of the work...more in that volume state. Keep that always in mind...here, there and way back there even if you have to exaggerate!

Even painting a simple orange...I'll be mindful of here (the extreme nearest point to my eye, and separate it from there (the mid point) and back there!!!

good...keep it up!!!

[libby2]

Ack! Correction! NOT Yellow Ochre, but NAPLES YELLOW!

Still tired.

[Dougwas]

Well, here is my first attempt to simplify a tree. I practiced a little while before painting this. With more practice and studying paintings by artists I admire, I know this will be a valuable tool for better paintings.

This is another gouache painting and is painted on 5 x 7 cold press watercolor paper. I know it is not a masterpiece, but it is a step in the right direction.

Here is #10.

http://www.wetcanvas.com/Community/images/21-Mar-2012/102199-March_21_Landscape.jpg

Doug

[LarrySeiler]

Well, here is my first attempt to simplify a tree. I practiced a little while before painting this. With more practice and studying paintings by artists I admire, I know this will be a valuable tool for better paintings.

This is another gouache painting and is painted on 5 x 7 cold press watercolor paper. I know it is not a masterpiece, but it is a step in the right direction.

Here is #10.

http://www.wetcanvas.com/Community/images/21-Mar-2012/102199-March_21_Landscape.jpg

Doug


number of things to point out...good, you are emphasizing the purer color, brighter and warmer on that which is nearer...!! :)

Though the shadow of the tree may appear harsh enough to have sharper edges, so that the form does not compete with the tree...I'd soften the edges of the shadow more so the distinctive line is not so discernable upon the ground...

You'll get a feel for the trees. A caricature...suggesting the personality of the trees with the key negative space skyholes. A good effort I'd say!! :thumbsup:

[Dougwas]

Thanks for the feedback, Larry. I don't know why I didn't soften the shadow edge. I hope to get the feel for trees. Once spring actually arrives, I will see if I can get out and paint from life. It might not be possible, but I am going to give it a try and see if my back holds up.

Here is the latest attempt. This is done in pastels and there may look like there is detail in the tree, but it is just the layering of pastels. I really didn't add any detail. It is 5 x 7 and I used a reference photo from the RIL.

Thanks for looking.

http://www.wetcanvas.com/Community/images/22-Mar-2012/102199-March_22_Landscape.jpg

Doug

[Tresgatos]

Here is the Iris re-do - not sure if I achieved what I wanted to.

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_-_IRIS_RE_DO_DSC_1020.jpg


More Daily Iris studies in Watercolor - used brush to draw:

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_-_DSC_1026.jpg


http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_DSC_1027.jpg

Studies of Iris - Line drawings - wanted to do these life studies before the

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_-_DSC_1022.jpg

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_DSC_1021.jpg


http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_DSC_1023.jpg

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_DSC_1024.jpg

http://www.wetcanvas.com/Community/images/22-Mar-2012/113757-EMAIL_DSC_1025.jpg

[DaveGhmn]

Tresgatos, I think your perseverance is paying off.

You've picked quite possibly the toughest flower to capture. You almost have to exaggerate the shading of the sepal and petal edges to make them stand out and read correctly... I've never managed to do it.

[CaKatt]

Tresgatos (3 cats?) Those are spectacular! I especially love the second painting. I can feel the flower.

This is painting #3. I hesitated to post it but decided to put it out there. I am inwardly cringing at the anticipated feedback. I've been called on my use of color before.

Same photo but trying now to capture the values with color. It's not perfect. I desaturated it and the values aren't quite there yet, but all the painting is aggravating an old neck injury and to continue today would consign me to being unable to paint for several days. Better to stop now and rest my neck and shoulders.http://www.wetcanvas.com/Community/images/22-Mar-2012/197736-003_stage1.jpg
Not the best photo. I was having some difficulty with light reflecting off the paint. 16"x22" oil on canvas.

[Tresgatos]

Thank you for your comments - appreciate the feedback.

The others were done yesterday and posted today.

I managed to try my hand at doing a split complementary today. Yellow, Purple, and Red with White for tinting. I did paint the 5 x 7 canvas with yellow and then painted the 3 eggs on the cloth from life. Used W&N water soluble oil paints. This painting took about an hour and a half.

Any constructive critique welcome.

Barbara


http://www.wetcanvas.com/Community/images/23-Mar-2012/113757-EMAIL_-_EGGS__SPLIT_COMPLEMENTARY_DSC08241.jpg

[CaKatt]

Nice one, Tresgatos. I haven't tried any of the limited palettes yet, How did it feel working with them? The only other criticism I might offer is to downplay or eliminate the left spot of light on the upper right egg. IMHO Hold a finger in front of it to block it from view and see what you think.

[Tresgatos]

Thank you for your suggestion and feedback CaKatt - I really do appreciate your taking the time to do this. :)

It was kind of interesting when I was painting it as I had it lit from the right side a little higher than the eggs and was really surprised to see where the light was shining as well as reflections. That spot of light was really there and it was reflected off the other egg.

Working with the limited pallet was interesting - I've tried it in the past but with more colors (not quite as limited). I like the results and plan to try it with more paintings - it will help me to understand color more as well as the terms and what they mean. Larry sure is a good teacher - wish I had someone like him to teach me when I was a lot younger.

I've just done another split complementary painting with gouache. This time I used red, green, yellow and a touch of black to get the darker colors. Haven't worked with gouache in a very long time so had to buy a small set (my others had dried up) to see if I am comfortable working with them - so far, I like it but need to do a lot more exploring. The following painting is a study of a salt and pepper shaker - the perspective is off but I did get to experiment with the gouache and split complementary so it isn't wasted. It's on 140 cp watercolor paper - 5 x 7 inches.

Barbara

http://www.wetcanvas.com/Community/images/23-Mar-2012/113757-3_-_Comes_in_Pairs_-_Salt_-_Pepper_Shakers.jpg

[LarrySeiler]

I managed to try my hand at doing a split complementary today. Yellow, Purple, and Red with White for tinting.


I think you did a decent effort here, Barbara...and it proves something Emile Gruppe said (for a reason you'll smile in a moment), that near any color scheme will work if values are on. Your color piles chosen are not in the pure sense a split complementary palette.

If yellow is your dominant color, then opposite yellow is purple, that would be the "complement"...the splits would be those two colors either side of purple...adjacent. Those would be red-violet and blue-violet...

thus, yellow...red-violet, blue-violet and white...

still...you handled the colors you chose with discipline, mindful of values and they have worked in a relative way... :)

[LarrySeiler]

I've just done another split complementary painting with gouache. This time I used red, green, yellow and a touch of black to get the darker colors.



Works nice relatively...again, not quite a split-complementary.

If red is your dominant...(green is your direct complement or opposite). The splits would thus be on either side of that opposite green. Thus you'd paint with red...yellow-green, and blue-green the splits...
hope this is making better sense now. Again...Gruppe is right. Near any color scheme (even off on choosing the right colors for splits)...will work if the values are good!!! :thumbsup:

and thus...seeing what you've done thinking you've done the splits right has taught me something then too...how being wrong, but in a consistent way mindful of values will yet pull off a unifying effort.

Haven't worked with gouache in a very long time so had to buy a small set (my others had dried up) to see if I am comfortable working with them - so far, I like it but need to do a lot more exploring. The following painting is a study of a salt and pepper shaker - the perspective is off but I did get to experiment with the gouache and split complementary so it isn't wasted. It's on 140 cp watercolor paper - 5 x 7 inches.

Barbara

http://www.wetcanvas.com/Community/images/23-Mar-2012/113757-3_-_Comes_in_Pairs_-_Salt_-_Pepper_Shakers.jpg[/QUOTE]

[LarrySeiler]

.http://www.wetcanvas.com/Community/images/22-Mar-2012/197736-003_stage1.jpg
Not the best photo. I was having some difficulty with light reflecting off the paint. 16"x22" oil on canvas.


a decent colorist feel to this...and working the values as you should! :thumbsup:

[LarrySeiler]

Larry- Thanks for pointing me to Kyle's blog. I just spent an hour going through it and liked what I saw. The two things that stuck out to me were the simplified shapes and the broad brushstrokes. It gave me some ideas that I want to work on in the next few days. I want to get the gouache out and see what I can do.

There are so many different styles and methods out there and this challenge is a perfect time to try things out. Thanks again. I will be heading back to Kyle's blog and take another look at his paintings.


Doug


just spent a bit of time in the plein air forum this morning...realized I should have mentioned Kyle's wetcanvas member name he goes by...which is "Kmart" in case others look for him there...

here is his blog-
http://kyle-martin.blogspot.com/

and a more recent thread in the plein air forum...
http://www.wetcanvas.com/forums/showthread.php?t=1054862

[Tresgatos]

Larry - thank you for taking the time to help me understand what a split complementary is. You're very kind with your critique and I appreciate that. So now, back to the drawing board.

Regards, Barbara

[Tresgatos]

Hello Larry,

I went back to the drawing board last night and studied the inexpensive set of gouache I just bought. As it takes me a long time to understand things, I completed 3 steps to try to understand what you told me.

1) Did a color wheel with the 12 colors - unfortunately they don't include ultramarine blue. The colors are a bit off from what I would think there should be but we have to learn how to work with what we are given in these sets. If I become comfortable working with gouache, I'll get the better paints:

http://www.wetcanvas.com/Community/images/25-Mar-2012/113757-COLOR_WHEEL_FOR_12_TUBE_SET.jpg

2) Did a chart so I could understand Split Complimentaries - Question: would the split colors also be tertiary colors? Hopefully, I do understand how to arrive at the split and how to use it now.

http://www.wetcanvas.com/Community/images/25-Mar-2012/113757-CHART_FOR_SPLIT_COMPLEMENTARY.jpg


3) I did a quick drawing of a Kokopelli candle holder (left the candle out of it). I used the Prussian blue as the dominant color and split the vermillion (orange) with some lemon yellow and crimson red.

http://www.wetcanvas.com/Community/images/25-Mar-2012/113757-KOKOPELLI_-_SPLIT_COMPLEMENTARY.jpg

[Dougwas]

It is so difficult to try to let go and try something new. You want to go back to your old way of doing things, even if you aren't happy with your old way of doing it. And when you finally give in and take a stab at something new, you have no idea if you are on the right track.

I don't know if it looks like something a child would do, or am I on my way toward something new and exciting. I do know it is different.:D It has some depth to it and I like the grass on the sunny side of the left side trees(it actually looks better irl). So, I guess all is not lost and maybe it is worth while spending some time continuing with this new look.

It is painted on 8 x 10 cold press watercolor paper using Daler Rowney gouache. I think I may try this painting again, but this time using pastels.

http://www.wetcanvas.com/Community/images/25-Mar-2012/102199-March_25_Landscape.jpg

Doug

[libby2]

Got a chance to paint today so I did two. The first was a remake of the Green Lakes #7. Maybe a slight improvement, but the trees & ground are still a mess. The bright side is that I'm making friends with the split complementary palette. :D
I've discovered the coolest orangey colors can be made by combining bright red and yellow-green. I had enough paint left over to do a pear that was hanging around.

Forgot to add that I ran out of Utrecht's Fr. Ultra Blue so I used W&N Fr Ultra Blue. Seemed to work out just fine!

#8 oil on canvas covered board preprimed in Indian Yellow & T. White appx. 7x9
http://www.wetcanvas.com/Community/images/25-Mar-2012/977256-8.jpg

#9 oil on canvas covered board 8x10
http://www.wetcanvas.com/Community/images/25-Mar-2012/977256-9.jpg

[libby2]

Thought I'd post the original photo that I'm trying to paint just so you can see.

http://www.wetcanvas.com/Community/images/25-Mar-2012/977256-IMG_2108_to_paint_web.jpg

[ScottCooper]

My focus now is more practice with oils. I didn't use them for a long time, and started exploring again about a year ago. I'm also always after that "painterly" look; the Bob Rohm book was very influential for me a year or so ago. This is a simple triad of Ultr. Blue, Perm. Rose and Yellow Ochre, with some very old Zinc White. Due to concerns over solvents, I'm trying some experiments using water mixable oil mediums and standard oils. 8 x 10 canvas board, about 1 hour (not including drying time for the imprimatura, add another 45 minutes for that).

http://www.wetcanvas.com/Community/images/26-Mar-2012/535891-RiverwoodOilSketch.jpg

[Journeyman]

This is a plein air from this morning.:)
Rosemary Forge.
http://www.wetcanvas.com/Community/images/27-Mar-2012/95424-Rosemary_Forge.jpg

After I finished the painted I stuck my head in through the door, all the blacksmith tools are still in there including the forge, all his tongs and snaps and a mighty leg vise! The only thing missing is the anvil but the wooden block it was mounted on still stands there next to the forge.
:wave: Dave

[LarrySeiler]

have been quite busy with a show coming up this weekend...ton of money invested, now scraping palette off...packin' up paint...plus teaching. Lot on my plate...so, apologize for not being able to jump in here as readily...

Hello Larry,

1) Did a color wheel with the 12 colors - unfortunately they don't include ultramarine blue. The colors are a bit off from what I would think there should be but we have to learn how to work with what we are given in these sets. If I become comfortable working with gouache, I'll get the better paints:

Impressive...like seeing this kind of fleshing out...


2) Did a chart so I could understand Split Complimentaries - Question: would the split colors also be tertiary colors? Hopefully, I do understand how to arrive at the split and how to use it now.


Absolutely...the basic RYB model premise...
primaries, secondaries, and tertiaries...

splits of blue for example would be red-orange and yellow-orange

splits of blue-green would be orange and red...and orange would act in this case as your yellow....


3) I did a quick drawing of a Kokopelli candle holder (left the candle out of it). I used the Prussian blue as the dominant color and split the vermillion (orange) with some lemon yellow and crimson red.

http://www.wetcanvas.com/Community/images/25-Mar-2012/113757-KOKOPELLI_-_SPLIT_COMPLEMENTARY.jpg

Won't feel the full measure of the potential unifying power and harmony as a vignette...still works and looks good!!!

[LarrySeiler]

It is so difficult to try to let go and try something new. You want to go back to your old way of doing things, even if you aren't happy with your old way of doing it. And when you finally give in and take a stab at something new, you have no idea if you are on the right track.

I don't know if it looks like something a child would do, or am I on my way toward something new and exciting. I do know it is different.:D It has some depth to it and I like the grass on the sunny side of the left side trees(it actually looks better irl). So, I guess all is not lost and maybe it is worth while spending some time continuing with this new look.

It is painted on 8 x 10 cold press watercolor paper using Daler Rowney gouache. I think I may try this painting again, but this time using pastels.

http://www.wetcanvas.com/Community/images/25-Mar-2012/102199-March_25_Landscape.jpg

Doug

there is ALWAYS risk outside the comfort zone...but such risk ALWAYS rewards with learning...

and...another reason we say that it takes "120 bad paintings to learn something ABOUT painting"

the learning curve is often not so great as to require that many paintings in altering or trying a deviation once you already have artistic experience...but the frustration, the disappointment levels...and the drive necessary to gain command are something of a given...

The look of the color intensity here, and the statement of forms reminds me of Van Gogh to a degree...

[LarrySeiler]

#8 and #9...lookin' pretty good, Libby...

good to hear about the palette as well...and you are beginning to recognize value in color mixes.

If you consider what you have learned in just the near first ten works...imagine now what will come down the road! :thumbsup:

[LarrySeiler]

http://www.wetcanvas.com/Community/images/26-Mar-2012/535891-RiverwoodOilSketch.jpg

Allowing the undertone to show thru works very nicely here, Scott...color harmonies are nice as well...

Be careful not to too heavily texture the sky where those forms closer to the eye are smoother..it interferes with the illusion of depth perspective...but overall, unless you would paint the whole of the painting painterly/textured...

[libby2]

Thanks for taking the time to stop in and give feedback, I appreciate it!

I want to spend some time figuring out how to do trees and earth, they just baffle me when a paintbrush is in my hand. We have some nice trees in our back yard giving good opportunity to practice.

Hope your team wins! My husband's whole family are golf *addicts*, it can be intense. :)

[Dougwas]

Thanks for the feedback, Larry. I couldn't agree with you more. This journey is all about learning something about painting every step of the way. That is why I am posting paintings I normally wouldn't even share with my family. There are going to be some real dogs along the way, but every painting teaches me something.

I used the same reference for this painting. This time I used Pan Pastels, something I am a little more familiar with. It is painted on 5 x 7 dark grey Pastelmat.

http://www.wetcanvas.com/Community/images/27-Mar-2012/102199-March_27_Pan_Landscape.jpg


Doug

[CaKatt]

Decided to back up a step from my last painting and try a limited palette with the same reference photo. Not sure how to determine which split to make. The photo seems mainly to be composed of blues and greens so decided on blue-green, green-yellow, red split. Used Viridian for the blue-green and mixed it with yellow for a yellow-green. All my reds seems either too warm or too cool so I picked a warm and a cool closest to neutral and mixed them together. maybe not what a real artist would do but I've got to make do with what I have.
I must say it is an interesting exercise and that I really don't like the result as it stands. It looks like I am viewing the painting through blue tinted glasses. I do plan to go back and rework it, trying to incorporate some warmer colors. Perhaps my yellow green was not yellow enough? Is there some place we can purchase a good quality color chart for reference or would making our own suffice?
http://www.wetcanvas.com/Community/images/27-Mar-2012/197736-004_SpltComp.jpg
9x12 oil on panel

[CaKatt]

Trying to delete the duplicate post. Guess this is the best I can do.

[libby2]

CaKatt, I picked a color chart up at the local Michaels craft store, same thing that the big fine art store sells. I got the big one because it has split complementary colors.

[CaKatt]

Thanks, Libby, I'll have to see if I can get one next time I go into town.

[Tresgatos]

Still Life

Limited Pallet - Gouache - 11 x 14 on Canson WC 140 CP paper

These were my Son's favorite toys and cup when he was about 2 years old

http://www.wetcanvas.com/Community/images/28-Mar-2012/113757-EMAIL_-_1-SOFT__2-HARD__3_-_TOGETHER_DSC08257.jpg

[CaKatt]

What a sweet painting. I especially get a feel for the satin that the ears are lined with. How old is your son now?

[CaKatt]

#5 Another black and white study of the same photo.
Today I had planned to finally work up a full color painting from my earlier studies but it just wasn't saying what I wanted it to. I just couldn't see putting all that work into a painting I wasn't satisfied with. Spent half the morning tweaking and photoshopping until I came close to the composition I wanted. This is what I was seeing in my head. The bushes look like squashed bowling balls and the tree still needs work but I am much happier with what it says.
http://www.wetcanvas.com/Community/images/29-Mar-2012/197736-005_BW.jpg
8"x10" oil on panel

[libby2]

CaKatt, this study is gorgeous, I love your brushstrokes. In fact I think all of these studies have been well done. You're inspiring me to do some tonal studies in black & white.

[Tresgatos]

CaKatt - to answer your question, my Son is now 43 :eek: OMG such a long time ago

[Dougwas]

I an enjoying looking at paintings from others. It is nice to know that we are not alone on our journeys.

This is another Pan Pastel painting and I think I managed to simplify things. The maize colored Pastelmat shows through in parts of the painting to give it a warm, summery feeling. The violet in the grass was added to harmonize with the mountain. The painting took about 45 minutes to paint. i'm getting faster.:)

The painting is 5 x 7 and is painted from my photo taken last summer at the bird sanctuary in Salmon Arm, BC.

http://www.wetcanvas.com/Community/images/29-Mar-2012/102199-March_29_Pan_Landscape.jpg

Doug

[LarrySeiler]

Decided to back up a step from my last painting and try a limited palette with the same reference photo. Not sure how to determine which split to make. The photo seems mainly to be composed of blues and greens so decided on blue-green, green-yellow, red split. Used Viridian for the blue-green and mixed it with yellow for a yellow-green. All my reds seems either too warm or too cool so I picked a warm and a cool closest to neutral and mixed them together. maybe not what a real artist would do but I've got to make do with what I have.
I must say it is an interesting exercise and that I really don't like the result as it stands. It looks like I am viewing the painting through blue tinted glasses. I do plan to go back and rework it, trying to incorporate some warmer colors. Perhaps my yellow green was not yellow enough? Is there some place we can purchase a good quality color chart for reference or would making our own suffice?
http://www.wetcanvas.com/Community/images/27-Mar-2012/197736-004_SpltComp.jpg
9x12 oil on panel

Riding shotgun on route to a three day weekend expo/show with my son to help man the booth. So a few moments here to respond.

I personally think this one works fine...and believe everyone needs to remember what painting the split-comp palette does, frankly...imbues a mood...which benefits are likely most understood and appreciated painting outdoors. There also it becomes easier in squinting the eyes to detect a hint of a dominant color bathing the scene. Experience in time allows room for creative license.

Also, I'm glad to see the experimentation from everyone...but for those lurking..the limited palette is not so limiting that experiments in any number of strategies would reveal...using a color as a pigment soup or mother color then mix values and paint somewhat as normal. Use a neutral grayer value as a mother color. A complementary palette (Payne often favored blue and orange in is desert and sailboat subjects.

A mood forced on a subject as here may not always be realistic as "local" or optical color...but does not cancel out its working.

[LarrySeiler]

Still Life

Limited Pallet - Gouache - 11 x 14 on Canson WC 140 CP paper

These were my Son's favorite toys and cup when he was about 2 years old

http://www.wetcanvas.com/Community/images/28-Mar-2012/113757-EMAIL_-_1-SOFT__2-HARD__3_-_TOGETHER_DSC08257.jpg


Really like this one...nice! The limited choices here really embellish and allows the warm color to sing!

[Tresgatos]

Hi Larry -

thank you for taking the time to post comments - most appreciated.

Hope your Son does very well at his show.

Barbara

[LarrySeiler]

Thanks...clarification...my show, ;) my son will be helping me....

We'll have a good one...

[CaKatt]

Thank you for taking the time to comment. I hope your show goes well.:crossfingers:

Using color to portray a mood is something I had not considered. Is it connected to the psychology of color? What colors portray what kind of mood? Hmmm. I must think on this. Perhaps try a different limited palette and see what comes of it. There is so much to learn and I know so little. I feel so young. :D (definitely something I have not felt in many a year.) Thank you

[CaKatt]

#6 Split Complementary with Yellow dominant, used diox purple as the blue violet and magenta as the red violet. Not sure what mood this conveys, sunny maybe? But I like it better than the last limited palette. I did find it too limiting and had to add a touch of ultramarine. The painting is also a touch more yellow than the photo. i can't seem to figure out how to color correct that.http://www.wetcanvas.com/Community/images/30-Mar-2012/197736-006_SplYllw.jpg
8"x10" oil on panel

[Tresgatos]

Larry,

Hope your show goes well - nice that your Son helps you out.

Started the following painting at White Tanks Regional Park in AZ (plein air) but couldn't finish it there. This is on a 11 x 14 inch canvas board - used Winsor Newton water soluble oil paint - Indian Red, Sap Green, Colbolt Blue, Raw Sienna, White, touches of Red and Purple. Could quite get the colors exact through the computer but they are close. Picked up some shine from the glare of the light also.

I have another one I had started out in White Tanks and plan to complete that one also.

Constructive Critique welcome.

Barbara

http://www.wetcanvas.com/Community/images/30-Mar-2012/113757-EMAIL_-_WHITE_TANKS_SCENE_-_PLEN_AIRE_DSC08259.jpg

[libby2]

Hey Larry hope your show's a huge success!

Here's #10, think I finally figured out that I'm not going to get any different greens no matter what I mix up. :rolleyes: Don't know what I was thinking since I was using the S.A.M.E. blue! :eek: But some how, some where in my mind there was the thought that if I mix a certain purple it will give out a magic green.......... :wave: <= me waving goodby to my last two brain cells :lol: :lol: :lol:

Anyway, here it is, pre-primed peptol pink w/pumice that rubbed off, but left an interesting texture that I liked a lot. I paid close attention to trees and earth, mixed up red-violet, blue-violet, yellow from the tube, naples yellow, t. white & black.

Oil, 8x10 canvas covered board

http://www.wetcanvas.com/Community/images/30-Mar-2012/977256-10.jpg

[Tresgatos]

I kept looking at the painting over the last day thinking something isn't quite right about it. This morning when watching an on-line art show, it was mentioned that the sky should be the lightest part of the landscape painting - I will be making the sky lighter in this painting and resubmit.

Barbara


Larry,

Hope your show goes well - nice that your Son helps you out.

Started the following painting at White Tanks Regional Park in AZ (plein air) but couldn't finish it there. This is on a 11 x 14 inch canvas board - used Winsor Newton water soluble oil paint - Indian Red, Sap Green, Colbolt Blue, Raw Sienna, White, touches of Red and Purple. Could quite get the colors exact through the computer but they are close. Picked up some shine from the glare of the light also.

I have another one I had started out in White Tanks and plan to complete that one also.

Constructive Critique welcome.

Barbara

http://www.wetcanvas.com/Community/images/30-Mar-2012/113757-EMAIL_-_WHITE_TANKS_SCENE_-_PLEN_AIRE_DSC08259.jpg

[Dougwas]

Here is #15. It is painted with Pan Pastels over a gouache under painting and is painted on 5 x 7 white Pastelmat. It took about half an hour, not counting drying time. I am pleased with that, because I am normally a slow painter. These exercises are helping loosen up my painting style which is what I have wanted for a while now, but I think I was afraid to do it. Is that dumb?

As you can see, I stayed over at the yellow/ green area of the color wheel. It took a lot of willpower to keep away from putting blue in the sky, but I am glad I did, because it would have ruined the color harmony.

http://www.wetcanvas.com/Community/images/31-Mar-2012/102199-March_31_Landscape.jpg


Doug

[robertsloan2]

Doug, love your green and yellow landscape. It's got something so cheerful and bright about it, lovely country scene. I can see this hanging in someone's house in country decor, it's beautiful.

Tresgatos, wow. That desert scene is so dramatic. I love the big cactus, they are huge in nature and you conveyed its size so well. Gorgeous succulents and distant hills, it looks so arid I can feel the heat.

Libby, yours is a beautiful landscape too. Love the violet accents, they do help harmonize the greens.

CalKatt, I love the violet pine! Your landscape is striking too. Beautiful textures.

I've finally started 120 dailies. We'll find out if I can do this!

http://www.wetcanvas.com/Community/images/01-Apr-2012/70184-4-1-2012-Daffodil-Pans-and-Girault.jpg
Yellow Daffodil
5" x 7"
Pan Pastels and Girault pastel details
Maize Clairefontaine PastelMat coated pastel card
Photo reference by DAK723 for April 2012 Pastel Spotlight challenge.

I also started a daily painting blog that I'll go put in my signature line.

[robertsloan2]

Second of my Daily Paintings... that's two days I've kept it up. Tomorrow's going to be challenging with home care in the morning and going out in the afternoon. I won't have much time to paint but I'll try something if I'm up to it.

http://www.wetcanvas.com/Community/images/02-Apr-2012/70184-4-2-2012-Dawn-Waterfall-Stage-3-OP.jpg
Dawn Waterfall
8" x 10"
Oil pastel on dark gray PastelMat
Photo by Johannes Vloothuis reference for week 2 homework for "Essentials of Painting Rocks."

[CaKatt]

Robert, Beautiful daffydil. I really feel the depth and the color is gorgeous as are the colors in the waterfall. My favorite part is the sky and the way it contrasts with the background trees.
Don't be discouraged if you can't manage to get a panting done every day. My body simply won't let me. I just plug on when I can. It matters more that we persevere.

[Tresgatos]

Robert - thank you for your kind remarks. It really is difficult to do one painting a day - Larry mentioned something about 3 a week as a goal because sometimes we just don't have the time each day. Love your rendering of the daffodil - a wonderful Spring flower.

I re-worked the painting and think I am finished with it - at least for now. Changed many things in the painting. I have to mention that the color is a bit off from the original but fairly close.

Constructive critiques welcome.

Barbara

http://www.wetcanvas.com/Community/images/03-Apr-2012/113757-EMAIL_-_REVISED_DESERT_SCENE_DSC_1032.jpg



I kept looking at the painting over the last day thinking something isn't quite right about it. This morning when watching an on-line art show, it was mentioned that the sky should be the lightest part of the landscape painting - I will be making the sky lighter in this painting and resubmit.

Barbara

[robertsloan2]

Barbara, great changes on the painting. I still love the way the rock wall looks and the scale of that massive saguaro cactus. You've captured the feel of the desert.

Third day in a row! I'm going to keep this up as long as I can - but I even said "health permitting" on the blog, so if I miss days, I miss days. Three a week is a good guesstimate for weeks things aren't going so well.

http://www.wetcanvas.com/Community/images/03-Apr-2012/70184-4-3-2012-Waterfall-watercolor.jpg
Waterfall
8" x 10"
Daniel Smith watercolor on watercolor paper
Photo reference by Johannes Vloothuis, week 2 homework for "Rocks" class.

[Pinklady219]

I should know what number this is -- I'll need to check. Meanwhile, I've started a blog but can't seem to get everything in one place in it. I need to investigate further. Okay, here it is Larry!!! Watercolor and a little pastel. I'm out of paper and used the inside cover of a bristol pad (dotty).
Thank you Larry, how is Gracie?

[Dougwas]

Way to go, Robert. I knew you could do it. As I told you before, I think this challenge makes me paint on those days I don't think I would have painted before (if that makes any sense:confused: ). Just paint when you are up to it, but let me warn you, once you really get going, it is addictive.


Here are the latest two paintings. The first is soft pastel over a gouache under painting painted on light grey Pastelmat. The second is also 5 x 7, but is painted with Pan Pastels and painted on dark brown Art Spectrum Colourfix paper. The first one is a dud and even though the second one is a little too dark, I still think it turned out not too bad.

#16
http://www.wetcanvas.com/Community/images/03-Apr-2012/102199-April_02_Landscape.jpg

#17
http://www.wetcanvas.com/Community/images/03-Apr-2012/102199-April_03_Landscape.jpg

Doug

[Tresgatos]

Good for you Robert - I see you got your homework done already for the challenge - looking good. :clap: I have to start on mine tomorrow. Thanks for the feedback. The rock wall might have been part of a dwelling built by a Native American a very long time ago :).

I wanted to do another Iris painting before the Iris all go away. This one is W&N water soluble oil paint on a 11 x 14 inch canvas board. I used a board that had tape around the edges which I removed before I started to paint. Thought the paint would cover it but it shows through - oh well, live and learn. Guess I could treat it as a watercolor and put a matt around it to cover the area. Right now I have become fuzzy-brained as I stayed up later than I intended. Thought I might as well post it before I go to bed.

Barbara

http://www.wetcanvas.com/Community/images/04-Apr-2012/113757-EMAIL_-_IRIS_PORTRAIT_-_4-3-12__DSC08302.jpg

[robertsloan2]

Pinklady, that's lovely! You were doing the same homework from the same reference, right? I recognize those gorgeous rocks, rushing grand blue water. Beautiful version of the scene.

Doug, don't run down your first one. It's a little geometric but it's one of those exceptions to the rule - it looks a lot like certain abstracted landscape paintings that I've enjoyed in the past. The strong pink of the roadway and the clear areas of strong color are beautiful in the abstract, the textures on the trees are fine, the grayish sky pushes attention back down into the painting and your rich violet shadow with that bit of blue-green in the depths of the right side of the right side trees makes a nice focal area.

It's not JV style but it's nothing to sneeze at. Some collector may want to buy that landscape someday. Don't toss it.

Your second one is interesting without a sky. Feels very closed in and mysterious with the heavy foliage and forest cutting off the bright meadow. Nice color gradation in the grass flattening the meadow. The path could zigzag a bit more, one more zig in it would improve it, other than that, excellent and also another abstracted landscape.

Cool the way you "played chess" with the trees in the second one and brought some of them forward. Interesting litle patch of wildflowers at the end of the path where it dives into the trees.

Here's a suggestion for the next one - do one with trees like that but distinguish three planes of trees in the background with hue and value, gradating them lighter, cooler and more muted as they march back into the distance. Maybe throw in some fog in the painting so there's an excuse for a tree only four feet behind the previous one to be obviously lighter, doing a misty landscape would be awesome.

[libby2]

CaKatt, your split complementary came out beautifully. It has wonderful mood to it.

Doug, I'm liking your pastels. You say #16 is a dud, but I disagree, I really like how there's a red/orangy color peeking thru the trees and glowing in the sky. I think it shows promise. #17 has a lot of mood to it, it takes me back to so many hikes I've been on over the years in many places. I think it's a winner.

Pinklady, nice painting! Your rocks are what Johannes was talking about, you're getting those colors right, and the water is flowing. Good job!

Robert, you're on fire man! (And thanks for your kind remarks. :)) I love your Daffodil, it's so vibrant. And your second daily, the rock painting, it has energy in it. I love the sky and how it reflects on the rocks and the way the water flows down. The watercolor, rock painting #2, I can see the water flowing, great use of negative space! The rocks are nice too. Three in a row, impressive. :thumbsup:

Tresgatos, love the name btw, your cactus shines, I mean the whole painting, it's a beauty. I really like your still life of your son's favorite toys, bet it brought back many wonderful memories as you painted....and I bet you couldn't believe so many years had passed in so short of time. :lol:

ScottCooper, I love your brushstrokes and trees! It's a beautiful painting, beautiful colors.

Here’s my #11, I started out w/the split complementary palette, this time I wanted to use Pthalo blue, perm. aliz. crimson and cad yellow light along w/ T. white, Naples yellow lt., and ivory black. I mixed up piles of green, red-orange and red-violet. Painted for a while, frustration and mud ensued, couldn’t get what I wanted, just was dying to use pure pigment so I gave in to those urges and started to get the painting that I set out to get. I don’t know if the split complementary is for me, I’ll continue to work with it, but I’m going to use pure pigment. The painting isn’t done but I don’t have the time to finish it, thought I’d get time yesterday to work more on it, but that didn’t happen. I have to get going on my rocks painting. Any way, I’m happier with it, happier w/using the pigments w/split complementary mixing, so maybe that’s what I’ll do for a while. And I’m going to use the pthalo blue, p. aliz crimson, cad yell lt colors, because I can mix what colors I need from those.

Oil on preprimed canvas covered board. 8x10 Primed in gesso w/pumice, and a top layer of acrylic colors of Indian Yellow / T. white & Cad. orange mix, sort of around the outer 1/3 edges, and brilliant yellow green in the center area.

http://www.wetcanvas.com/Community/images/04-Apr-2012/977256-11.jpg

[LarrySeiler]

wow...gone for a week or so, busy...and look what happens here. Great stuff...much promise!!! Yoo HOO everyone!!

I'm off again...no time really but to say I had a peek last couple pages...and know I need to spend some time here. This week yet, I promise!!! Off north to meet a friend...truckin'...have some dinner, maybe get a painting in...

peace

[Dougwas]

No problem, Larry. We will still be here when you get back. Take care and paint up a storm.

Doug

[robertsloan2]

Libby, that's so dramatic. I love the deep shadows and brilliant light in it. Very cool textures in the foliage. The way you hinted at the palm fronds and painted one in the negative works so well.

My third go at the Johannes Vloothuis Week 2 Rocks homework and fourth Daily Painting. Yesterday I was out of it because I got a new dresser from the manager at my residence hotel and that solved my storage problem - except that I had to pick up and move and then put away all of my art supplies. Threw my back and bad hip doing it, so no daily painting on the fourth day. I might make it up this afternoon though if I get another idea.

http://www.wetcanvas.com/Community/images/05-Apr-2012/70184-4-5-2012-Waterfall-Pan_Pastels.jpg
Waterfall III
5" x 7"
Pan Pastels on Buttercup PastelMat
Photo reference by Johannes Vloothuis for Week 2 homework in Essentials of Painting Rocks. Third go at the homework!

I think I'm done with this reference for now. If I do another waterfall I will go for another reference.

[Tresgatos]

Libby - than you for your kind words. Yes, it is hard to believe how quickly time goes by. I agree with Robert in that your painting evokes the feeling of mystery as to what might be around the bend as you come out of the forest.

Robert - I like the colors (esp. the sky) and looseness of this last painting you did for the homework - looks like you are having some fun with the pan pastels. Something I might try way down the road. I'm still trying to get used to the oils.

I managed to do a Winson & Newton water soluble oil painting on a 8 x 12 in stretched primed canvas for the class on rocks. The rocks and waterfall certainly are a challange. If I do enough different scenes I might get one that I love. Practice does help - wish it didn't take me soooo long to grasp and retain all the concepts being taught. Thought it would be good to add this to the 120 paintings.

Barbara

http://www.wetcanvas.com/Community/images/06-Apr-2012/113757-EMAIL_-_ROCKS_HOMEWORK_4-6-12_DSC_1070.jpg

[LarrySeiler]

Constructive Critique welcome.

Barbara

http://www.wetcanvas.com/Community/images/30-Mar-2012/113757-EMAIL_-_WHITE_TANKS_SCENE_-_PLEN_AIRE_DSC08259.jpg

thanks Barbara...the show was incredible...great time, a lot of opportunities birthed..

My first inclination looking this one over is to think the values are too much related...would like to see more variation which pushes the illusion of space, depth perspective...

http://www.wetcanvas.com/Community/images/06-Apr-2012/532-barbara_cactus.jpg

[LarrySeiler]

Hey Larry hope your show's a huge success!


http://www.wetcanvas.com/Community/images/30-Mar-2012/977256-10.jpg


nice to see you're trying the pumice..

I like the feel of this one, when I squint my eyes...it feels right. Like the light of some of my paths along rivers here when I paint plein air that I walk along...

[LarrySeiler]

These exercises are helping loosen up my painting style which is what I have wanted for a while now, but I think I was afraid to do it. Is that dumb?

I'd say any time we step beyond our comfort zone...there is a level of apprehension...



As you can see, I stayed over at the yellow/ green area of the color wheel. It took a lot of willpower to keep away from putting blue in the sky, but I am glad I did, because it would have ruined the color harmony.

http://www.wetcanvas.com/Community/images/31-Mar-2012/102199-March_31_Landscape.jpg


Doug

Pushing purity of the color...and the values will expand that range possible for greater variation and effect...an example, just this little tweak I did here. Lightened the sky just above the horizon for one...

http://www.wetcanvas.com/Community/images/06-Apr-2012/532-dougscape.jpg

[LarrySeiler]

I should know what number this is -- I'll need to check. Meanwhile, I've started a blog but can't seem to get everything in one place in it. I need to investigate further. Okay, here it is Larry!!! Watercolor and a little pastel. I'm out of paper and used the inside cover of a bristol pad (dotty).
Thank you Larry, how is Gracie?


thanks....Gracie is doing much better...on Rimydal ...and glucosamine..
we got our girl back :)

push for more variation in values...so that rocks nearer in the lower plane appear different from those farther up and back...same with blues of water...vary what is nearer from that which is farther..

colors are purer, darks are darker nearer the viewer...as a point of reference

[LarrySeiler]

http://www.wetcanvas.com/Community/images/02-Apr-2012/70184-4-2-2012-Dawn-Waterfall-Stage-3-OP.jpg
Dawn Waterfall
8" x 10"
Oil pastel on dark gray PastelMat


some nice energy, Robert...pleasing aesthetics to this one...

[LarrySeiler]

http://www.wetcanvas.com/Community/images/06-Apr-2012/532-setup_painting.jpg

just give ya'll an idea, been busy...tonight painted a plein air about a half-hour from home...here you see my set up...and my effort. A quick one, end of day light...

The photo reference shows darker darks than what the eye sees, and colors more muted. From life, the color is seen more vivid. Now...a good reference, and a plein air study, one could put a decent labored effort together instudio, the plein air reminding the eye what the photo references aren't revealing...

[Tresgatos]

More gradation to lighten the areas as they recede???

Glad you had some time to yourself to relax and paint. Thank you for sharing your latest painting - its amazing what the artist can do with a scene - love your painting .


thanks Barbara...the show was incredible...great time, a lot of opportunities birthed..

My first inclination looking this one over is to think the values are too much related...would like to see more variation which pushes the illusion of space, depth perspective...

http://www.wetcanvas.com/Community/images/06-Apr-2012/532-barbara_cactus.jpg

[LarrySeiler]

lights can be light nearer as well...such as the path to the left of the cactus...leaves of plants, etc., darks get lighter going back into distance...as a general rule...

[Dougwas]

Welcome back, Larry. I hope the show went well for you. Thanks for showing us your painting set up. Your painting look a hundred times better than the photo. I love the light bouncing off the water and shining through the trees. Did you paint this in gouache?

Thanks for showing me the tweaks to improve my painting. I can see how pushing the values can work. I might just make those changes and frame it and hang it in my studio.

Here are my last two attempts. They are both 5 x 7 and painted with soft pastels. The last one had me pulling out my hair. I repainted the grass three times until I decided to move on.

#17
http://www.wetcanvas.com/Community/images/07-Apr-2012/102199-April_03_Landscape.jpg

#18
http://www.wetcanvas.com/Community/images/07-Apr-2012/102199-April_05_Landscape_Rev.jpg

Thanks for looking.

Doug

[Dougwas]

Here is today's painting. It is painted from a photo of Mount Ida, taken from our back yard. One day I will paint it again, but from life instead. We are lucky enough to have this view from our kitchen, back deck and backyard. It also makes a beautiful backdrop to our small city.

It is the first time that I have anything resembling clouds so I am happy with that and I think the mountain looks okay. The trees are boring and I think if I did this painting again I would crop most of the trees out and make Mount Ida take up most of the painting.

This is a 5 x 7 painting done with soft pastels and Pan Pastels and is painted on Buttercup Pastelmat.

http://www.wetcanvas.com/Community/images/08-Apr-2012/102199-April_08_Landscape.jpg

Doug

[robertsloan2]

Very cool, Doug! I commented on the first two but didn't see your most recent one, that's got beautiful mountains.

I didn't post this yesterday but should have even if it was in my art journal instead of done on a separate piece of good paper.

http://www.wetcanvas.com/Community/images/08-Apr-2012/70184-4-7-2012-ArtBars-Seascape-Crop.jpg
Derwent ArtBars used dry and wet on 180lb white Stillman & Birn "Beta" rough watercolor paper. Same page as the color chart for the 12 color set I used.

Haven't painted yet today.

[Dougwas]

Thanks, Robert. The mountain taunts me every morning when I open the curtains on the sliding glass door that leads to the back deck. I know I am in for a treat this summer at sunrise. The colors that bounce off the snow is awesome. This summer I will be ready to really study it and paint it.

I don't even know what art bars are, but you handled them very well. A lot of energy. It doesn't matter if it is painted in your journal. It is still a painting. It is also okay if you don't paint today. Don't overextend yourself. Take is easy and maybe you will be up to painting tomorrow.

Take care.

Doug

[Dougwas]

Here is #20. A hundred to go.:)

This is a subject that I have problems with. My clouds always look like heavy clumps that couldn't possibly float in the sky. This challenge is all about trying new things and attempting to correct problems of the past. I think I might be on the right track. It is painted with Pan Pastels and is painted on 5 x 7 Maize Pastelmat.

Thanks for looking.

http://www.wetcanvas.com/Community/images/09-Apr-2012/102199-April_09_Landscape.jpg


Doug

[Dougwas]

I am enjoying this challenge and I know it is helping me paint more often. The last few paintings might still be sitting on the easel if I didn't take up this challenge and start the blog. When I wake up and know it is not going to be a good day, I wait for the aches and pains to subside enough for me to put in an hour at the easel. Even if it is only for a half hour, it is still more than I would have painted before the challenge. I am also better organized and try to get the pastel paper taped to the backing board and try to figure out what I will paint the night before.

Here is painting #21. It is another Pan Pastel painting. It is painted on 5 x 7 Pastelmat. These clouds didn't turn out like the last ones. I guess they aren't as interesting to look at and that could be part of the problem. I am also posting the revision of the last painting. I changed the shape of the top cloud, because it was similar to the bottom cloud.


#21
http://www.wetcanvas.com/Community/images/10-Apr-2012/102199-April_10_Clouds.jpg

#20 Revised
http://www.wetcanvas.com/Community/images/10-Apr-2012/102199-April_09_Landscape_Rev.jpg

Doug

[LarrySeiler]

really like your revised #20...Doug...simple...but there. The format very nice...

One thing for you to grow into...you'll want to pull color into areas to tie things (unify). For example..some hints of blue spots in the lower part...would tie that area to the sky above. The hints of yellows in the cloud you have now serve to pull the the clouds to the land mass below, etc., The blues in the lower part, for example...should be hinted at...not so obvious.

Sorry to hear of "pain"....my wife has fibromyalgia, has been disabled twelve years now...on SSDI...
I myself a disabled vet. You have my regards, Doug...do what you can. A friend once told me, "all you can do...is ALL YOU CAN DO...and all you can do IS ENOUGH!"

Simple logic...but really, you stop beating yourself up if you catch the real truth of it...

[Dougwas]

Thanks, Larry. I am sitting here, shaking my head. I made sure the yellow from the ground was continued in the clouds, but forgot to add the sky color to the ground. All is not lost. I remembered to do it in the other painting.

As you know, living with a disability is no fun. I have sciatica and lower back pain and I never know how I will feel. I know things could be worse and try to do as much as I can. One good thing that came out of this is I got back to art.

That is great advice your friend gave you. I will have to write it out and pin it on the studio wall. I admit that I do get frustrated from time to time, but I think I have come to grips with it. My problem is I try to do more than I should and pay for it later. My wife just shakes her head.:D

Doug

[Dougwas]

Here is #22. It is painted from a photo I took while standing on the public wharf in our new home town, Salmon Arm, BC. The wharf stretches out into Shuswap Lake and offers many photo opportunities. This is painted with soft pastels and Pans and is painted on 5 x 7 dark grey Pastelmat.

http://www.wetcanvas.com/Community/images/11-Apr-2012/102199-April_11_Landscape.jpg



Doug

[CaKatt]

Haven't posted this week. Been a bad week for pain here, mainly due to a car accident many years ago. Finally took it up again with my Dr. and we will see what comes of it. It is good to hear that I am not alone in feeling well enough to paint at times.

Attached photo is of two projects, numbers 6 and 7. The top strip is my 10 value study I worked up after seeing what Larry had his students do in class. I had never done one and must say if you get a chance I would encourage you to complete it as both a reference material and an exercise to develop your value discernment. The bottom painting is the rather dismal result of my homework for Johannes' rock class. Rocks are not a strong point, I was tired, hurting and under a deadline. The result is this rather sorry work. http://www.wetcanvas.com/Community/images/12-Apr-2012/197736-007_008_ValScaleRockHmwk.jpg
Next week I will feel better and have some exciting projects in mind.

[Dougwas]

CaKatt- No, you are not alone. There are many of us out there. As Larry said, just do what you can do and don't feel guilty about it. I think many of us got back into art because of our aches and pains and the need of a hobby to keep the minds active. I hope you and your doctor figured out a solution that can ease the pain.

Your painting looks good to me. The rocks are well formed and the water has movement. I agree with you about making a value scale. I did one with water soluble oils and it took longer than I thought. It is a good exercise. Good luck with your next project. Take care.

Doug

[robertsloan2]

CalKatt, your Rocks homework looks good. I like the way the rocks came out. The water flows properly and I can see the stepped levels of the waterfall, values are accurate, rocks are three dimensional. It's better than you think it is. Keep going!

I've been sunk with some health factors too but yesterday did my Puzzle Painting entry as a daily painting:

http://www.wetcanvas.com/Community/images/12-Apr-2012/70184-4-11-2012-Pastel-Puzzle-3-Piece-15.jpg
Pastel Puzzle Painting 3, Piece 15. I know it doesn't mean anything, hoping I'll find out what it is when all 15 other pieces get fitted together around it. I used the 10 color Painters Set of Pan Pastels.

Today I used the small set of Pans again. I've recommended it for ages as a good starting palette for beginners or field palette. Now I'm practicing with it so that I can take it out to a park and paint plein air with it. Sometimes I run into frustration not having colors I'm used to but I'm definitely getting somewhere with it. This started out as a storm scene and turned into a sunset because it looked cool on the orange paper.

http://www.wetcanvas.com/Community/images/12-Apr-2012/70184-4-12-2012-Cloudscape-Done.jpg
Sunset Cloudscape
8" x 10"
Pan Pastel (10 Painters colors) on orange Canson mi-Tientes smooth side.
From memory and imagination. No references used.

[Tresgatos]

I posted another Iris painting here last night and can't find it now :confused:

I'm re-posting it again and hope it doesn't show up twice.
W&N water soluble oil paint on an 11 x 14 canvas board. Wanted to paint the Iris before they disappear - hope to paint a yellow one soon. This one reminds me of fog creeping along the ground and the one Iris is just sitting above the fog.

Haven't given up on landscapes and will return to them soon.

Robert: The sunset painting is bright and cheerful - makes me feel good to look at it.

Barbara

http://www.wetcanvas.com/Community/images/12-Apr-2012/113757-EMAIL_-_IRIS_FROM_LIFE_-_4__DSC08304.jpg

[Dougwas]

Robert- Love that yellow, red, blue sky and the tints in the clouds. The painting just glows.

Tresgatos- The iris is beautiful. It has a very delicate look to it and the background looks great with the same colors as the flower.


Here is #23. It is painted on 800 grit UART paper using Pan Pastels. It is painted from a photo I took last summer looking over Shuswap Lake while I was walkling the trails at the bird sanctuary in Salmon Arm, BC.

http://www.wetcanvas.com/Community/images/13-Apr-2012/102199-April_13_Landscape.jpg

Doug

[robertsloan2]

Purr thank you!

Barbara, I love your iris. Irises are among my favorite flowers and this one is spectacular. The one you hint at behind the main flower is so beautiful too. Very cool.

Doug, great clouds on this one! I like the sandy patches on the hills too and the details on the grasses, the grass heads look very natural.

Today's skyscape has a very different mood!

http://www.wetcanvas.com/Community/images/13-Apr-2012/70184-4-13-2012-Cloudscape-2-Storm-Hills.jpg
Storm over the Hills
8" x 10"
Pan Pastels on light gray Strathmore Artagain pastel paper
Photo reference by Johannes Vloothuis from Photo References Pack.

[robertsloan2]

Today's Daily Painting! Despite an exhausting, exciting day volunteering at the Food Bank and then having my Home Care visit, which involved Joy helping me sort three huge boxes of art supplies into a dresser and other running around - it's hard to sit still and be waited on and not do anything - I did get in one daily painting. This one. From life.

http://www.wetcanvas.com/Community/images/14-Apr-2012/70184-4-14-2012-Endive.jpg
Endive and Bell Pepper
6" x 8"
Girault pastels on gray pastel paper. From life and imagination.

I know Endive is a lettuce relative. Any ideas if lettuce actually is a food with any calories, or have vitamins - or is it just something to stuff your stomach so you don't feel hungry if you're on a diet?

[LarrySeiler]

Haven't posted this week. Been a bad week for pain here, mainly due to a car accident many years ago. Finally took it up again with my Dr. and we will see what comes of it. It is good to hear that I am not alone in feeling well enough to paint at times.

Attached photo is of two projects, numbers 6 and 7. The top strip is my 10 value study I worked up after seeing what Larry had his students do in class.


There are folks that talk a talk...but lack discipline, genuine passion to succeed. Folks that are dealing with chronic pain issues, health...believe me, I do know. My wife has been on SSDI twelve years now...fibromyalgia the big culprit. Myself 100% disabled from the military...(Vietnam Era)...upgraded this past year from 30%...

You might hear or read my pushing myself...(and my wife will likely tell you I'm nuts or not respecting what limitations I supposedly have) but I'll never make judgments on others and their plights. Be kind to yourself. Set reasonable goals...with just enough out of your comfort zone where learning is the goal, but not comfort zone where health is concerned.

Yes...seems the BIGGEST most COMMON culprit to most work (90% of the time)...are issues with values.

Breaking main color groups into a dark, mid, and light value...and locking your attention to it is most critical to becoming a good proficient painter. Advancing from there are applying midtones.

Only when these have been n'er mastered would I in all reality encourage concerns with other areas of painting. Yes...brushwork is important, expanding the knowledge of color, useful...but you will not step into that echelon of true advancement if your understanding and practical application of good strong use of values be weak...!!!

Good to see you made your values strip!

[Tresgatos]

Yellow Iris Portrait.

Robert - I like your veggies -Lovely color combo

My yellow Iris are blooming so I was able to cut a stalk and bring it inside to paint. This is on 11 x 14 canvas board - Did the background first and let it dry then did the painting. Used Winsor & Newton water soluble oil paints.

I see I didn't quite crop the photo as well as I should have - the colors aren't quite true to the painting and I had to try to adjust them in Photoshop 7.

Constructive Critiques welcome.

Barbara

http://www.wetcanvas.com/Community/images/16-Apr-2012/113757-EMAIL_-_YELLOW_IRIS_DSC_1103.jpg

[Tresgatos]

Tulip Design from live tulips that are almost ready to fade away.
Pen and watercolor on Bristol paper

Barbara

http://www.wetcanvas.com/Community/images/20-Apr-2012/113757-EMAIL_TULIP_DESIGN.jpg

[CaKatt]

Barbara, Love the shapes and the lovely soft colors in the iris portrait. The tulips made me smile. Beautiful line work in the leaves and cool perspective on the flowers. :clap:

Thank you Larry, Doug, Robert for sharing your struggles. It has encouraged me. :grouphug: For many years I have looked forward to having an 'empty nest' and spending more time painting and improving. These last months been so discouraging as I hit a physical wall and I adopted the mantra, "Work smarter, not harder" I hope that you do not mind that I keep you in my prayers.

For myself I have been thinking and reconfiguring my studio space and I think it is helping. I am able to paint longer without pain (YAY!):) Unfortunately I am frustrated by my painting.

Larry, you said: Yes...seems the BIGGEST most COMMON culprit to most work (90% of the time)...are issues with values.

Breaking main color groups into a dark, mid, and light value...and locking your attention to it is most critical to becoming a good proficient painter. Advancing from there are applying midtones.
(Sorry, I'm not sure how to show a repost. Will have to figure that one out) Main color groups? Do you mean masses, as in a mass of trees or a hill. Are mid tones different from mid values?

I am self taught and I am always looking for learning sources. Where can I find this information?

The following painting is what I have worked on for the past couple of weeks. It is a very different painting for me in that there is no direct sunlight and right now that is really bothering me. I've also altered a couple of details from real life in an effort to improve the painting, which I'm not used to doing and I'm not sure I've done a very good job of it. I see the foliage still needs work (It's amazing how seeing a painting on screen makes the errors pop up). After seeing Larry's comments on getting values down clearly I desaturated the photo and see a few more spots that need work. There is hope for it yet. Any other suggestions?
http://www.wetcanvas.com/Community/images/20-Apr-2012/197736-009KitchWind.jpg
#9 Kitchen Window, oil on panel, 11"x14"

[Tresgatos]

Hi CaKatt - thanks for your feedback. I had made two attempts to paint the tulips that bloomed in the pot I purchased last week and I wasn't happy with either one (one in oil and one in watercolor - didn't bother to post them). Didn't finish working on either one. So last night I really wasn't up to attempting another serious painting and tried a design instead. It's kind of a fun quirky piece before the plant utters it's last gasp.

I'm not accomplished enough to give any real constructive feed back except to say that I agree with you on putting in some direct sunlight on one wall or the other. Although it appears there one wall is somewhat lighter than the other and perhaps it would be the one wall you would want to add sunlight to?. How much, etc. not sure?? Right now I do like your painting a lot.

Barbara

[Tresgatos]

The petals on the tulips make such interesting shapes as they fade away. I did do another one from the live plant that is dying. Not sure what to do with the bulbs when then are done. Tried some outside from last year and all I got was leaves and a few tiny blooms that never really opened. I live in the desert and so guess it is way too hot over the summer. I'll have to do some more research.

So here is my second design on an 8 1/2 x 11 inch Smooth Bristol paper, pen and watercolor.

Barbara

http://www.wetcanvas.com/Community/images/22-Apr-2012/113757-EMAIL_TULIP_DESIGN_-_FADING_TULIPS.jpg

[CaKatt]

Barbara, Love your pen and inks and to see the progression of the flower blooming and fading. Would love to see what you would do with iris in pen and ink.
Katt

[firesignart]

I have been immersed in a web design course so I have not been painting. Finally it is over and I plan to paint every day! Here is one that I did inspired by the challenge on www.dailypaintworks.com (http://dailypaintworks.com) with a limited pallet of cad yellow med, white, black, ultra marine blue, alizarin crimson.
http://www.wetcanvas.com/Community/images/23-Apr-2012/97017-sheepshead-web-600.jpg
The painting shows a bit more yellow than the real one which reads more as white. 6"x6" acrylic on linen

[firesignart]

http://www.wetcanvas.com/Community/images/23-Apr-2012/97017-sheepshead2-600.jpg
sorry this is closer

[CaKatt]

Firesignart, I like the texture of the paint in the first post. Nice work.
A couple of quick plein air studies. The one on the left is using a brush for the first time in years and really struggling. I had also laid down a coating of Bob Ross liquid white to start to see how it went. Bleah. I won't use it that way again. It muted everything out. also did not have a clue as to what to do with the background.
In the second I managed to set up one of those still life black boxes with a light that Larry showed in Foundations class. Someone help me out and tell me what they are called. It made a big difference. Used both palette knives and brushes with attention to shape, negative spaces and foremost value. Still need to desaturate and see if the value holds.
http://www.wetcanvas.com/Community/images/23-Apr-2012/197736-010_011_flowers.jpg
#10 and #11 5"x7" oil on panel

[callady]

I've thought for awhile that I NEED to paint something daily so here's my first one. 9 x l2 in pan pastel and stick pastel. My epidendrum/epiphillium is starting to bloom....can't remember the correct name....sorry. I started out very precise but with music playing I got carried away. I think that's why my pan pastels always are messy looking!

I would appreciate constructive criticism so have a go at it.

[LarrySeiler]

Barbara

http://www.wetcanvas.com/Community/images/12-Apr-2012/113757-EMAIL_-_IRIS_FROM_LIFE_-_4__DSC08304.jpg


Barbara...

the neat thing with the near abstract background...the hint of other flowers, etc., is that it causes the flower front and center to feel like its sitting in our laps! Its a real lesson in painterly realism...and what can be got away with as an illusion! Very nice. :thumbsup:

[LarrySeiler]

Here is #23.

http://www.wetcanvas.com/Community/images/13-Apr-2012/102199-April_13_Landscape.jpg

Doug

Pretty decent work, Doug... a reminder I suppose, a caution (?)...and that is what makes a painting stand out from others is variation. Not a gazillion things that vary or are added, as where everything is shouting nothing gets heard, but...surely in an image bombarded world...we have to have juxtaposition...variation..

http://www.wetcanvas.com/Community/images/25-Apr-2012/532-dougscape2.jpg

here...each area of space is a horizontal that exists on its own, none invading another.

Its possible, that a reference photo, or a location set up on...is accurately represented by such...but, if the aim is to produce images that compel the viewer to stop in his/her tracks and take the work in...then one space needs to invade another...

[LarrySeiler]

http://www.wetcanvas.com/Community/images/13-Apr-2012/70184-4-13-2012-Cloudscape-2-Storm-Hills.jpg
Storm over the Hills
8" x 10"


I like the compositional design of this one Robert...and distribution of mass/weight...space. A nice piece...values, contrast!!

[LarrySeiler]

Larry, you said: Yes...seems the BIGGEST most COMMON culprit to most work (90% of the time)...are issues with values.

Breaking main color groups into a dark, mid, and light value...and locking your attention to it is most critical to becoming a good proficient painter. Advancing from there are applying midtones.
(Sorry, I'm not sure how to show a repost. Will have to figure that one out) Main color groups? Do you mean masses, as in a mass of trees or a hill. Are mid tones different from mid values?

As an artist...I know folks will intimate or use the word "tone" to describe a number of things. As an instructor...I think much differently about tone. Here is a past Wetcanvas post I think you'll find interesting as I share a "tone wheel" and would be a good thing in a future webinar to spend some time on...

http://www.wetcanvas.com/forums/showpost.php?p=7397633&postcount=95

http://www.wetcanvas.com/Community/images/25-Apr-2012/532-532-tonewheel_illustrated.jpg

Values...if you get a sense of what this tonewheel is showing, is much different...



There is hope for it yet. Any other suggestions?
http://www.wetcanvas.com/Community/images/20-Apr-2012/197736-009KitchWind.jpg
#9 Kitchen Window, oil on panel, 11"x14"

I really like this...and my thinking is, this could be a subject of varied moods...like Monet's haystacks. The distant wall in deep shadow with the wall on the right brightly lit. As is more subdued light...even a nocturnal.

Very very fine, IMO...!!! :thumbsup:

[LarrySeiler]

http://www.wetcanvas.com/Community/images/23-Apr-2012/97017-sheepshead2-600.jpg
sorry this is closer


I like your expressiveness...brushwork...hope to see more!

[LarrySeiler]

Got word today...the series is now available for purchasing! Yes..!

and I think quite the deal...$39...all five sessions plus my study notes and outline, but the real kicker, I sent them the dvd I made of my Last Light Impressions along the Rat River...which is about 45 minutes in length or so, and will be included in its entirety as a download. My videos I ordinarily sell are around that price...so a pretty good deal indeed me thinkx!!! :D

http://www.northlightshop.com/wetcanvas-live-painting-foundations-strategies-to-improve-your-work-with-larry-seiler-downloads-v8313/?lid=wcsanl042512

http://www.wetcanvas.com/Community/images/25-Apr-2012/532-LarrySeiler_ImproveYourWork.jpg

[Dougwas]

Thanks for the feedback on my painting, Larry. I see what you mean and I will keep it in mind the next time I have that situation.

I just purchased the course, but I am unable to download the files. I get an error message every time I try so I sent an email to Northlight. Hopefully I have an answer ready for me when I get up tomorrow morning. (I'm on PDT) I want to get my hand on it now, but I guess I'll have to wait. I can't wait to get it.

Doug

[CaKatt]

Doug, I was in the middle of watching a download series from Northlight last week when they updated their web site. Suddenly nothing worked. I called and they emailed the links to use. I still can't download directly from the site. I would recommend calling them.
Katt

[LarrySeiler]

I just purchased the course, but I am unable to download the files. I get an error message every time I try so I sent an email to Northlight. Hopefully I have an answer ready for me when I get up tomorrow morning. (I'm on PDT) I want to get my hand on it now, but I guess I'll have to wait. I can't wait to get it.

Doug

that figures, doesn't it? :rolleyes:

one of the challenges, on-going pestilences of technology which continues to vex all of us!

I'm sure it will get fixed quickly...I'll let Sarah know as well, Doug! :thumbsup:

[firesignart]

since the last one was fun I tried another!
http://www.wetcanvas.com/Community/images/26-Apr-2012/97017-lamb-face.jpg

[carol_lee]

loving these!!!

[Tresgatos]

Thank you for your feedback Larry and the information on the tone chart - will need to study that.

Barbara

[ItsaWonder]

http://www.wetcanvas.com/Community/images/28-Apr-2012/189626-DSCF7436-002.JPG

Hi everyone, I was in the class, too, and then I forgot about this thread. I just caught up reading it, and it's fun to see everyone's paintings as we're all on a similar journey. Nice to have some people to be on the journey with. I also started my blog recently! This is not my most recently painted, but is my most recently blogged painting. I am still trying to figure out why sometimes I can paint like I want and sometimes I simply cannot! (something I wrote about earlier in this thread). One thing I have figured out is when I run out of space on my palette, I am in danger of doing a bad painting..... well, we're supposed to do at least 120 bad paintings, so it's ok.

As I said on my blog, I'm having trouble with my images looking like my paintings. I think this photo actually gives me more credit for gettig light and depth into the flowers than I really deserve when you see the real painting. The vase reads pretty accurately. This is painted in acrylic, on a 6x6" panel. The image looks huge as I am writing this. If I preview and it looks equally huge, I am not posting it (well, it doesn't look quite as huge in the preview, but still quite large. This is my first time posting an image to Wet Canvas. Is it supposed to look so large and close-up? It doesn't look so large on my blog....)

Anything anyone can ever say (nicely) to help me paint better, I will happily listen.

Be well, everyone.

Meredith
www.meredithadler.blogspot.com (http://www.meredithadler.blogspot.com)
"Paint Like Nobody's Watching"

[LarrySeiler]

One thing I have figured out is when I run out of space on my palette, I am in danger of doing a bad painting..... well

If I understand what you are saying, most of my smaller paintings afield are done on my 9"x 12" Guerrilla pochade box, my palette 9"x 12"...with my pigments across the top and side, and my mixed up strategy pigments (a pigment soup, or split-complementary, etc) taking some space below that.

For me...the routine calls for painting in "steps"...then wiping off the mixing area of my palette.

In some regards, this is easier done with oils...but, I have 35 years painting with acrylics as well. It is different to be sure. Tending to use white styrofoam plates when I paint acrylics, paint along the sides mixing in the middle. Still...I'll find steps..blocking in the masses assigning the main values. Clean...wipe off plate, or use new. Reset up the paints...move to the next step, etc.,

If, and when I do the Go To Meeting on Wet Media...I imagine I could do a short segment on managing the palette for acrylics. In truth...after awhile it becomes such a habit or routine, that there is no more thought to it. Its more about knowing how a painting begins and progresses, and finishes then it is about space on the palette.


This is my first time posting an image to Wet Canvas. Is it supposed to look so large and close-up? It doesn't look so large on my blog....)



http://www.wetcanvas.com/Community/images/28-Apr-2012/532-flowerssmall.jpg

Depending on your editing software...(I use Photoshop) you should be able to save the size of image, its pixels...the image's quality. Which will affect the size viewed in the forums. What you have is the maximum size...but small is no issue.

This one here...I saved at 110 resoluton (dots per square inch), and height adjusted to 4" maximum...and at 9 on quality...

I like your contemporary realist flare to compartmentalize the values and color...breaking the complex to essentials...

What is a bit unsettling for me, is the vase going off the bottom so much, or perhaps that the edge of the table behind it disappears into the body of the vase, not moving behind it...as though the vase is swallowing up the table's edge...

I like the subtle differences in darks and lights in the flowers, giving them real character anchored in space. Nice job on that!! :thumbsup:

[ItsaWonder]

Larry! Thanks for changing the size of my painting. That huge one was giving me a headache. I can breathe now.

Once I figured out that running out of palette space was a big issue, I started using freezer paper for my palette and covering it with a fresh sheet when I run out. Sometimes I lose some of my mixes that way, but it seems worth it when I balance that out with being able to create clean fresh mixes.

I have so much to learn about editing photos, and I will take what you said and try to figure it out. I appreciate it....

Thanks, too, for what you said about my painting, and for telling me the unsettling part. There's even an extra lesson here for me because....there is no table in the painting--it's the sidewalk. Part of the sidewalk is in shadow, part in light. Now, I don't mind if people don't see it as a sidewalk, because how are they supposed to know that's what it is from this painting. But I don't want people to see it as a messed up table, so that gives me something to ponder.

Thanks for your time, Larry. You made showing a painting here for the first time a positive experience, and definitely worth it for the learning!

Meredith
www.meredithadler.blogspot.com (http://www.meredithadler.blogspot.com)
"Paint Like Nobody's Watching"

[carol_lee]

Hi,
At last got the courage to open up my "new" gouache paints... bought last February :lol: been waiting for Larry's new webinar to start but finally got the courage to "jump in"..... in our art work shop we often get topics to work on at home and bring in for critique.... first one, critique will be this Tuesday [3rd of May] topic Independence Day... we just celebrated 64th... with or without the day.... next one for the 22nd is Taxi will really have to do some brainwashing for that one.... anyway I chose a photo of my grandson Noam riding a bike... added the flag For Independence Day relationship. my first gouache..

http://www.wetcanvas.com/Community/images/29-Apr-2012/58142-2012-atzmaout-noam.jpg

Really felt way out of my comfort zone.... with oils I was used to the ease of spreading the paint.... here it was so different... experimented with thicker and more diluted paint.... really have a LOT to learn...

Bought a small set of gouache... not all the colors Larry suggested so will have to buy them separately....Used A4 400gr watercolor paper.... should have toned it first... then maybe the paint would have gone on more smoothly..

Would appreciate any sites or tuts to help me!!! Looking at it online needs some tweaking.. so any suggestions would be helpful!!!!

Thanks for taking a look!!! Now to blog it... have really been lax about that!!!

[Tresgatos]

I started the oil painting of these tulips using a live plant as a model about a month ago and didn't like the initial result so I put it aside. I decided today that I would give it a go and finish it no matter what it looked like. So following is the result of my "Wild Tulips" in W&N water soluble oil paint on an 11 x 14 canvas board. At least I was painting today.

Barbara

http://www.wetcanvas.com/Community/images/29-Apr-2012/113757-EMAIL_WILD_TULIPS_DSC_1286.jpg

[firesignart]

Spring Daffodils
9x12" acrylic on canvas
http://www.wetcanvas.com/Community/images/29-Apr-2012/97017-daffodils-web.jpg
thanks for comments, so glad to be painting!

[carol_lee]

Spring Daffodils
9x12" acrylic on canvas
http://www.wetcanvas.com/Community/images/29-Apr-2012/97017-daffodils-web.jpg
thanks for comments, so glad to be painting!
Love your muted tones and the shaping of the statue

[carol_lee]

Barbara These turned out lovely.... great lead in lines... and 3D look...

[Dougwas]

Nanci- Your sheep look great. You used very bold brush strokes that give character to the sheep. The texture adds to the interest. The flowers and vase are well done too. I like the arrangement of the daffs and the way the vase has the light bouncing off of it. Well done.

Meredith- I like the contemporary look. The painting has a very good sense of light and the flowers look great. Keep posting here. The more you post, the easier it becomes.

Carol-Lee- It's good for us to get out of our comfort zone. Or at least that's what I hear.;) You did a fine job with the gouache. The more you use it, the more familiar it will become. I usually paint in pastels, but I have been dabbling in gouache as well. I too am eagerly awaiting Larry's next course. Larry told me that his gouache is usually about as thick as cream when he is applying it. I know it depends on the look you are going for, because it can be thinned down to look like watercolor as well. Have fun experimenting with it.

Barbara- Good finish. Sometimes it frees us up when there is no reference for us to go by. I like the greens with the reds and violets. The background fades nicely to give the painting depth.


I am still waiting to hear back from F & W about the downloads. It would have been nice to have them over the weekend, because I wasn't able to do any painting and could have done some studying. Oh well. Hopefully they will get things worked out and I will get the downloads soon.

I got back to a fun subject for the latest painting. I love painting pears and they taste good too.:D This time I painted with gouache. It is painted on 5 x 7 cold press watercolor paper that was primed with Rich Beige Art Spectrum Colourfix Primer. The primer is usually used for pastels, but I thought I would give it a try with gouache and I am glad I did. The painting isn't the most exciting, but I was painting.

I thought I posted the second painting, but I just posted it to my blog and not here. It is painted on 5 x 7 Uart sanded paper. It was started with a pastel and alcohol under painting, laying the pastel down on the paper and then using a paint brush dipped in alcohol to liquefy the pastel. Soft pastel was then applied when the under painting was dry.

Thanks for looking.

http://www.wetcanvas.com/Community/images/30-Apr-2012/102199-April_30_Pear.jpg


http://www.wetcanvas.com/Community/images/30-Apr-2012/102199-April_25_Landscape.jpg

Doug

[carol_lee]

Thanks Doug for your kind words... love the tree image.... really works..very interesting textures.... I often work in oil pastels and crayons and thought combining gouache with these might be interesting.

[LarrySeiler]

I am still waiting to hear back from F & W about the downloads.

Doug

The word I got from Sarah, Doug...was that there was no problem with the advertised link leading to the purchase...but an issue with the download link on North Light's side. Apparently that has been fixed, and I understand you should try to download again(?)....

Sarah is also our community of Wetcanvas administrator...and you can private message her for info that might help toward that end...

sallspaw is her Wetcanvas name...

[Dougwas]

No luck. I have tried about ten times today, including just now before I PM'ed Sarah. I explained everything to her so maybe she can help. I want to listen to your words of wisdom.:thumbsup:

Doug

[ItsaWonder]

Thanks for the welcome, Doug. This is a very welcoming place. I guess you know by now that I checked out your blog. I'm glad you posted the trees here. I really like the depth you got in those trees.

Carol's little bicycle riders are wonderful, she has another on her blog.

Nanci, I really like your use of various of warm and cool colors to show a sense of light. I'm trying to learn from looking at your paintiing! It's fun for me to see another person painting in acrylics for this painting practice, too.

And Barbara, your tulips are glowing, I love how you did that.

When I first started my regular painting practice around November, I played with many mediums. I see that some people posting in this thread are doing that, too. I found that my painting improved when I decided to focus on one medium and put aside everything but my acrylics. I'm wondering if anyone else has thoughts or experiences about either sticking with one medium vs. using many. Like others here have mentioned, I am looking forward to Larry's gouache class, though. I had a lot of fun painting with some pastels over gouache last fall, too.

Meredith
meredithadler.blogspot.com
"Paint Like Nobody's Watching"

[Tresgatos]

Meredith & Dough Thank you for your feedback.

Doug - I see you are playing with different techniques - lots of fun to try and you have some interesting results. I see texture in both pieces. Movement in the trees and sky in the landscape with the texture. Nice use of colors in the pear.

Meredith - I like your flowers and vase

Carol Lee - Love the texture and colors in your daffodils painting and the different kind of vase - nice fertility symbolism.

Barbara

[Dougwas]

Meredith- My main medium is pastels, but I like using other mediums as well. Often when I am "playing" with gouache, watercolor, oils, acrylics (I have them all:o ) I will learn something that I can use with pastels. I often use gouache or watercolor for under paintings. Richard McKinley uses oils for under paintings for his pastel paintings. I know some people just use one medium, but I like variety.

Barbara- Thanks for the comments. I like trying different things and figure this challenge is the place to do it.


Here is my first painting of the month. It is painted with soft pastels over a gouache under painting. It is painted on 5 x 7 Uart 400 grit sanded paper. This was painted for the Spotlight over in the Past Talk arae of WC.

http://www.wetcanvas.com/Community/images/02-May-2012/102199-May_02_Spotlight_Landscape.jpg

The gouache under painting
http://www.wetcanvas.com/Community/images/02-May-2012/102199-May_02_Gouache_Under_Painting.jpg

Doug

[ItsaWonder]

http://www.wetcanvas.com/Community/images/02-May-2012/189626-1-DSCF7501-002.JPG
acrylic, 6x6"

These were soooooo hard (I painted these today). I really thought my head would explode during one point of the process. There has got to be an easier way to paint roses than the way I approached them. I was wondering if anyone knows a good way to paint roses, or would be willing to do a demo. Or has already seen a good demo of roses here on WC. I'll do a search for a demo, too, but I don't usually have much luck with my searches here.

The way I tried was by painting each rose flatly with a mid-tone in a rose shape first and then adding lights and darks for petals. My head was spinning! Yikes...

I'm happy enough with the way they came out, especially since it was my first time trying to paint roses...there just has to be a better way!

Per my earlier guidance from Larry, I think I managed to resize this painting to a small enough size to post. I use Picasa, which doesn't seem to have any of the variables you mentioned in your response about Photoshop, Larry, but I found something to try and at least in the preview it seems to look small enough now. Fingers now crossed as I hit "submit reply."

Thanks to everyone for being so nice about my first posted painting; it was kind of scary to post an image here for the first time. Your kind welcome made me feel comfortable enough to post another one, so....many, many thanks....I really appreciate you all.

[Dougwas]

It gets easier and easier every time, Meredith. I still remember the first painting I posted here five years ago. I was soooooo nervous. Now I don't even think about it.

You did a great job on these roses. I see the color of the roses continued in the background. The roses have enough info to let us know what they are. I really like the color of the blue pill bottle. It makes a very nice vase.

Doug

[ItsaWonder]

Thanks for the encouragement, Doug, and thanks for what you wrote on my blog. I appreciate receiving the feedback on the painting. It helps me learn.

[Dougwas]

Meredith- It is always nice to know that we are not alone in our journey. I am enjoying my journey and I am also enjoying following others. Fun stuff.

Here are my last two efforts. The first was painted from a reference photo fro the IRL that I cropped. The painting is 5 x 7 and is painted on Uart 800 grit paper using Pan Pastels, soft pastels and pastel pencils. I ran out of tooth and couldn't get the look I was after.

The second painting is painted from life, using a primitive light box made from a cardboard moving box. I have to paint the inside of the box black so the light doesn't bounce around. It didn't help matters that the mug has a shiny finish to it. It is painted with soft pastels and is painted on 5 x 7 Belgium Mist Wallis sanded paper. This little guy is #30! A quarter of the way to 120. Already. Wow, time flies.

Thanks for looking.

#29
http://www.wetcanvas.com/Community/images/05-May-2012/102199-May_04_Blooms.jpg

#30
http://www.wetcanvas.com/Community/images/05-May-2012/102199-May_05__Mug.jpg

Doug

[Dougwas]

Right on. This is the third day in a row I painted. I even got a chance to line my light box with black paper and it sure makes a difference. Then I figured it was time to try a new pastel paper. This is painted on a 5 x 7 blush Art Spectrum Suede paper and I used soft pastels.

I think I'm getting a more painterly look. Maybe?

http://www.wetcanvas.com/Community/images/06-May-2012/102199-May_06_Apple.jpg

Doug

[firesignart]

thanks for all the comments! Now for a new angle...my mind!

Fish Reflections

acrylic on canvas

20" x 16"
http://www.wetcanvas.com/Community/images/07-May-2012/97017-fish-reflection-650.jpg

[firesignart]

I started this one last July on site during the Comox Valley Music Festival and I pulled it out to finish recently
"Music Fest: Capturing the Spirit"
48" x 24"b
acrylic on canvas
I think I should stop soon...http://www.wetcanvas.com/Community/images/07-May-2012/97017-MusicFest-Capture-the-Spirit-2011-850.jpg

[Tresgatos]

Hi Larry

Finally went back to this White Tanks Desert Scene - changed a few things and tried to vary the colors a bit so it didn't look as boring. With that said, not sure I achieved what I wanted but will consider it done for now. The landscape painting eludes me but maybe some day I will get better.

Barbara

http://www.wetcanvas.com/Community/images/07-May-2012/113757-EMAIL_2ND_RE_DO_OF_WHITE_TANKS_DSC_1305.jpg

[Dougwas]

Nanci- No doubt who the star is in your fish painting. It looks like there is a sun beam coming through the water and landing on him/her. The contrast of the cool colors in the big fish being surrounded by all the warm red fish looks great. I really like all the splashes of color in the Music Fest. Nicely done.

Barbara- I don't think it looks boring. You have great depth in the painting with it getting softer the further back you go. Very well done.


Here is #32. After watching Larry's video, "Last Light Impressions," I thought it was time to bring out the wet paint. This is painted with gouache and is painted on water color paper primed with Art Spectrum Rose Grey Colourfix primer. Something completely different for me. Definitely out of my comfort zone.

#32
http://www.wetcanvas.com/Community/images/07-May-2012/102199-May_07_Landscape.jpg

Doug

[Dougwas]

This is my first oil painting. Water miscible oil painting to be exact, but using the paint straight out of the tubes, I can't see any difference. But then again, this is all new to me.

This is painted with W & N Artisan WMO's and is painted on an 8 x 10 canvas board. I used a photo reference from the IRL. It was fun and there will be more oils in the near future.


#33
http://www.wetcanvas.com/Community/images/08-May-2012/102199-May_08_Landscape.jpg

Doug

[firesignart]

http://www.wetcanvas.com/Community/images/10-May-2012/97017-Jasper-close-up-650p.jpg
thanks for your comments Doug, nice values in the one above. Here is my new daily painting, another close up!
Jasper acrylic on canvas 6x6"

[LarrySeiler]

This is my first oil painting. Water miscible oil painting to be exact, but using the paint straight out of the tubes, I can't see any difference. But then again, this is all new to me...
#33
http://www.wetcanvas.com/Community/images/08-May-2012/102199-May_08_Landscape.jpg

Doug
Nice vibrancy and energy.

A difficult admission, (or perhaps conclusion to come to) for some artists weighing in on this media or that...is that one can hardly overstate the presence of color. One can be off in their use of values which harnesses color, like a bit in a horses mouth...but again, nature's light is so intense compared to what earth pigments can deliver. I like this one as it emits a better presence of light thru color, the harmonies you've delivered. I'd say experiment more with those water emiscible oils and gouach.

Love natures neutrals and somber moods...but many near automatically paint such due to apprehension in their use of color. And they tend to paint such in a dull and muterd manner. I think for many...this is a reason painting set up on location is such a renaissance revelational wake up moment. Your painting sits right there, the subject just beyond...TAUNTING any meger timid attempts! Shouting, "go bold or stay home!"

For those with difficulty painting outdoors for health reasons it can help to view the works of a good many proficient painters that do paint outdoors. You can somewaht learn vicariously from their experiences. My blog has many fine painters Ive listed with links to their web sites.

Nice work Doug...

[ItsaWonder]

Doug, good job on your first oil? Really? Your first? I imagine all your experience with pastel is informing your oil work. I wondered what size this is, because I was particularly impressed with your paint handling of the light between the tree trunks. Especially on a small panel, can be hard to do that part well. Did you use a smaller brush?

Nanci, I love each of the last three paintings here...the looseness of the music festival one is awesome. It's really enough, isn't it? Wonderful....

[Dougwas]

Larry- Thank you for the encouragement and your insightful comments. I am comfortable using color and I know some colors should be muted so the pure colors can shine, but it is something I have to work at. I guess it is a work in progress.

I haven't been able to paint the past few days, but I hope to be able to give it a go today. I have spent a lot of time going through the blogs you have listed on your blog. I don't think I am half way through the list yet and I haven't even started the list of actual sites. Great information and examples of different styles and how these painters use color.

I plan on using and experimenting more with gouache and WMO's. I love mixing colors and using a brush. I don't know why, but I find I have more control with a brush than I do when using pastels. Then on the other hand, it feels like I loosen up using a brush. Does that make sense? Thanks again for all your help. I am enjoying watching the lessons again. I pick up something every time I play them back. Well worth the money.

Meredith- Thank you. I have played with oils before and did one demo from Susan Sarback's book, "Capturing Radiant Light and Color." I also did a color theory course using oils, but this was the first oil painting that is all mine. The color theory course gave me confidence with mixing colors and I have an understanding what will happen when I mix two colors. And yes, I believe painting with pastels has helped me a lot.

The light between the trunks was painted before I painted the trunks. I just turned the flat brush sideways and painted between the trees and the shadow and then I dabbed the trunks with the darker color. This is all new to me, so I am learning by doing. I don't know if I am doing things the right way or not, but I am not afraid to try things.

Nanci- Big, bold, confident strokes. I love all the abstract shapes. The glint of light in the eye on our left is nicely done.


Doug

[Pinklady219]

Still trying to get loose. Loose in watercolors. Also trying to get the time set aside to paint. I was in the hospital for 7 days and fell way behind. Here is my latest. I have more to upload. I love this painting of the horses. Also, I know the horse on the right gave me a headache. He is way overworked. I failed on that one. But what do you say about this Larry???? thank you in advance... Carol

[CaKatt]

So encouraging to see what everyone is working on and the progress being made. I am still painting (slowly, always more slowly than I would like) through all the busyness; Dr appts, daughter home from college, prepping to paint in a garden tour next weekend.

Since I mainly paint with palette knives I have been trying to apply what I read in, "Brushwork Essentials". Another tool in my arsenal might be a good thing. Initially brushes left the impression of painting with wet noodles. It helped to use bristle brushes and I am feeling more comfortable. I do find myself still trying to use the knives when a brush would probably serve better. I am focusing more on florals due to the aforementioned garden tour.
#12,13 and 14 all 5"x7" oil on panel
http://www.wetcanvas.com/Community/images/15-May-2012/197736-012_013_014_copy.jpg

I am really happy with the blue bottle. It's the first time I've done a transparent glass that 'feels' like glass. While I am happy with the dandelion puffs in the middle painting the background desperately needs help. It kind of screams 'UGLY'. The last one is OK, I think I would do it differently next time.

I found the tone wheel interesting and plan to investigate more after next week. Would that be something a nocturne would mainly utilize?

[Tresgatos]

Finished this watercolor painting of the Tulips I started and stopped - completed a lot of other paintings and finally came back to this one. Wasn't happy with the way it was turning out so I decided to do a design with it instead - it goes with the other two previously done. It's on watercolor paper and ink and watercolor to complete.

I do have to say there are a lot of nice paintings on this site.

Now I want to get back to trying landscapes again.

Barbara

http://www.wetcanvas.com/Community/images/15-May-2012/113757-EMAIL_FOR_POSTING_-_TULIPS_AT_PEAK_BLOOM_DESIGN_DSC_1306.jpg

[Dougwas]

Carol- Spending seven days in the hospital is no fun. I hope everything is going well for you now that you are out. Your painting has wonderful movement to it. I can hear those horses running. Very well done.

CaKatt- I think we all wish we could paint faster. You are doing fine using a brush instead of a knife. It must feel quite different for you. I'm used to having a pastel stick in my hand, so it's taking a while to get used of brush for me as well. You did a great job on the glass vase. The last painting has a nice unity to it with all those yellows and greens. Good luck with the garden tour.

Barbara- The tulips have a nice soft look to them. The ink outlines give the painting a graphic look. I like all the variety of greens in the leaves.


Here are the latest two paintings. Both are done with WMO's and are painted on canvas panels. The first one was painted a few days ago and I just didn't feel as though it turned out the way I had in mind. It is 9 x 7.

The second painting was done this afternoon after watching the fifth lesson. Larry mentioned painting with a limited palette and premixing a dark, medium and light in all the colors made things easier. I tried a split complementary palette of ultramarine blue, cad red hue, cad yellow light and titanium white. It did make things easier. Didn't have to stop painting to mix a color. It was great! Sort of like painting with pastels, just not as many choices. Anyway, I know it's no masterpiece, but for my third ever oil painting I'm happy with it. It is 7 x 5.

#34
http://www.wetcanvas.com/Community/images/15-May-2012/102199-May_11_Landscape.jpg

#35
http://www.wetcanvas.com/Community/images/15-May-2012/102199-May_15_Landscape.jpg

Doug

[Dougwas]

Here is a 'pigment soup' painting. Before the last painting, I mixed the remainder of paint I had on my palette together to make a pretty pile of mud and set it aside on the palette. I toned the canvas panel with it, rubbing the paint into the surface until it was a nice light red grey. I then added a little dab of the mud into every pile of paint on my palette from the last painting, unifying all the different colors. This is the result.

Painted with W & N Artisan WMO's and painted on a 5 x 7 canvas panel. Thank you Paula Ford for the photo from the RIL. This took less than an hour to paint. Yes! I am getting quicker.

http://www.wetcanvas.com/Community/images/17-May-2012/102199-May_17_Landscape.jpg

Doug

[libby2]

Wow, everyone's been doing beautiful work!

Been a while since I've posted. A lot of things have been going on, mainly the disintegration of my marriage. Pretty awful, at times I didn't think I'd survive but w/the help of my friend mr. xanax I did. Husband has returned to the homestead and surprisingly we get along just fine. We're living separated but in the same house, a bit tense at first but things are more relaxed and friendly now.

I signed up for an ongoing painting class at the local art center, Liverpool Art Center. Really enjoying it, my painting has improved. It's great because Sandra can show me firsthand how to do the things that I'd been having so many problems with. For instance trees. Those little buggers were causing me no end of worry, I could not figure out how to do them. Now I have a better grasp of them, and am more confident. I repainted a scene from Green Lakes that I'd done twice before. It's not as I'd like it, but I'm happier with the results. Now I can leave it alone for a while until I've improved to the point where I can nail it.

edit to add that the colors aren't quite right.

Green Lakes Path, Oil 8 x 10 canvas board
http://www.wetcanvas.com/Community/images/18-May-2012/977256-13_a.jpg

[Tresgatos]

A study of winter in the country and the mood it creates

http://www.wetcanvas.com/Community/images/18-May-2012/113757-Email_-_Session_1_Homework.jpg

[LarrySeiler]

Larry mentioned painting with a limited palette and premixing a dark, medium and light in all the colors made things easier. I tried a split complementary palette of ultramarine blue, cad red hue, cad yellow light and titanium white. It did make things easier. Didn't have to stop painting to mix a color. It was great! Sort of like painting with pastels, just not as many choices. Anyway, I know it's no masterpiece, but for my third ever oil painting I'm happy with it. It is 7 x 5.

#34
http://www.wetcanvas.com/Community/images/15-May-2012/102199-May_11_Landscape.jpg

#35
http://www.wetcanvas.com/Community/images/15-May-2012/102199-May_15_Landscape.jpg

Doug

good on ya, Doug...moody...holds together, harmony...

I am surprised, even with plein air painters..how many painters mix on the fly. That is...see a color, THEN mix it up.

Fine if you paint super fast...and I do that from time to time, but have a lot of experience. For many painters, the light changes so much during the course of the painting, and you can tell the inexperienced because things are painted "as they see them" and "when they see them" which becomes pretty obvious by rendering of light and shadows.

Pre-mixing does a number of things, one it teaches you to begin to see the painting finished ahead of time, in your head...to plan for it, and stick to the plan...thus releasing or saving you from the tendency to chase the light and a slave to the moment.

Also, confidence. When you see it harmonize on the palette and working, you know its going to work in the painting...!

Nice stuff...keep it up!

[LarrySeiler]

I repainted a scene from Green Lakes that I'd done twice before. It's not as I'd like it, but I'm happier with the results. Now I can leave it alone for a while until I've improved to the point where I can nail it.

edit to add that the colors aren't quite right.

Green Lakes Path, Oil 8 x 10 canvas board
http://www.wetcanvas.com/Community/images/18-May-2012/977256-13_a.jpg


sorry to hear of the home front tensions, Libby...a tough chapter to go thru...
hope some resolve comes for you...

This is an interesting piece, not only funneling the subject, but our attention... :)

[Dougwas]

Thanks for the feedback, Larry. I appreciate it. I find that premixing makes it easier to make a decision while painting. You don't have to think "what colors do I have to mix to get the hue I want." You just use whatever you have looking at you from your palette. I like less choices. It makes it harder to make a big mistake.

Here is number 37. I just participated in the WDE, which was hosted by Mike Beckett (mbeckett) a fellow Canuck.:D The photo I used looked inviting, but I am not sure if I pulled the painting off. I think the values could have been done better, but this is what I came up with.

It is painted with a split complementary palette of lemon yellow, ultramarine blue (blue violet) and dioxazine purple (red violet) along with titanium white. I used W & N WMO's again and enjoyed slopping the paint around. Just don't tell my pastel friends.;)

#37
http://www.wetcanvas.com/Community/images/21-May-2012/102199-May_21_Landscape_WDE.jpg

Doug

[LarrySeiler]

Seems somewhat strange to me so early in your trek, Doug...but a style seems to be emerging already. Bold effort...nice

[Dougwas]

Thanks, Larry. Funny how you mention a style emerging. Over in the Pastel Talk forum, there is a thread about finding your style. It may sound corny, but I have always said I am waiting for my style to find me. I just wrote about this on my blog. I think if you make yourself paint in a style it will look forced, but if you paint using the right side of your brain (painting in the zone) your painting style emerges. I think this has been happening more and more each time I paint. Imagine that. lol

This is painted using the same reference photo as yesterday, but this is done in soft pastel. It is painted on 5 x 7 Belgium Mist Wallis sanded paper and I used a variety of softies. It took about two hours. I think it takes longer in pastel to do a painting because you are layering all the time.

#38
http://www.wetcanvas.com/Community/images/22-May-2012/102199-May_22_Landscape_WDE.jpg

Doug

[Pinklady219]

Doug, your consistent postings of your artwork is paying off with Larry's consistent help. I can see your progress. I love the last two paintings. I see a little of Larry's style in your last. I love visiting to see what treat you are giving us! Keep it up. Carol

[libby2]

Yippee, today is painting day! :clap: I did this study earlier, I have the book "Capturing Radiant Light & Color" by Susan Sarback. I ran across an interesting website (http://www.explore-drawing-and-painting.com/how-to-mix-colors.html) where the artist demonstrated her technique of painting like Monet. I bought the book (love her paintings!) and finally got to paint today. I've never done the block in method, so this was new to me, and quite fun, I'll be doing each demo as they present themselves in the book. Hope to see some growth by the end of the book.

And tonight is my painting class! :D :heart:

Thanks Larry, sometimes life throws a curve ball, but life goes on, gotta just keep going forward.

Oil, appx. 8x10 canvas covered board.
http://www.wetcanvas.com/Community/images/24-May-2012/977256-14.jpg

[Tresgatos]

Been painting but not from life - here are two that I recently completed. Still trying the landscape painting (photo colors a bit off) but lots to learn. The other was a challenge for design work with flowers. Trying not to get discouraged as I don't seem to be able to paint landscapes well enough - I understand what is being said to me and what I read but putting it into practice and remembering everything to do is another thing. Will keep trying.

Barbara

http://www.wetcanvas.com/Community/images/26-May-2012/113757-EMAIL_Snow_Scene_Homework_5-25-12__DSC_1321.jpg


http://www.wetcanvas.com/Community/images/26-May-2012/113757-EMAIL_-_BIRD_OF_PARADISE_DESIGN_DSC_1315.jpg

[Myasko]

Doug - I have truly enjoyed watching your journey. The oil #37 is a great study with the challenge of trying a new medium. and I love the pastel #38 of the same scene, probably because of the wonderful use of color/season and command of the use of pastel which I have yet to conquer. Have only used pastels over watercolor at this point.

Libby - Loved the primary colors and sense of mass, color harmonizing, and brush strokes on May 24th painting. There is a real sense of peace, also the light in your forest trail shows a lot about your journey. I am so glad the sidetracks called life have not gotten you down.

After a year and a half at WetCanvas, with one excuse of after another - life, obligations, fear - I have not posted any work , hopefully will in the future. However you have challenged me to more painting and taking a friend up on painting either plaine air or in his studio.

Thanks for sharing your journey
Mary

[libby2]

#15, Painted outside today to the wonderful world of changing light and moving shadows! Hah, at least that's my excuse. Today was a beautiful day, I set up a still life consisting of lidless mason jar, bright red ball candle, and plastic container w/a bright lime green lid that was set on its side so that just the lid was facing me.....it also has a deep groove around the inside edge (note to self: don't use this again). That floating yellow object on the left is suppose to be the lime green lid. Could. not. get. that. green. at. all. After scraping paint off it a couple of times I gave up and made it yellow at the very end. I think the red candle isn't bad in spite of the changing light, was really seeing the different colors in it at the end, so I think that's what saves it. The mason jar, pale aqua in life, seems to have died a sad death on canvas. It did look good for a while but I kept putting paint on it, should have left it alone, but I had the thought (as opposed to what I was seeing) that it should have more colors in it....so I ruined it, at least I learned from the experience. The background came out more interesting than I originally thought. At first it was a hideous pink which I tried to cover up w/diox purple, that was too dark, then lemon & white, since it was getting late and I was tired I just scraped white and whatever was on my palette and sloshed it on. As I carried it in I thought it was hideous, but looking at it now, it doesn't seem so bad (still kinda pinky tho). Hmm, also noticing an abundant use of cobalt and lemon, guess I was enjoying that mix! And the best thing is.....no mud! Same palette as the last one, along w/the palette knife.

Oil on canvas covered board, appx. 7x9:
http://www.wetcanvas.com/Community/images/27-May-2012/977256-15.jpg

[Dougwas]

Carol- Thank you so much for your encouraging words. It is music to my ears that you can see progress in my paintings. I guess it is inevitable to have your instructor's style creep into your paintings. I am drawn to Larry's work so maybe that is the style that has been looking for me. Thanks again.

Libby- Good job on both your paintings. That background in the second painting worked out well. I love the yellow reflections in the first painting. I have the Sarback book and did a course in the pastel section here in WC. It was taught by Charlie (Colorix) and lasted a few months. The course taught me not to be afraid to use color. I still use the method sometimes in pastel, but haven't yet tried it in oils. Have fun "seeing" color. Here is the link to the lengthy thread if you care to look at it. http://www.wetcanvas.com/forums/showthread.php?t=527268

Barbara- I know exactly what you are talking about and after talking to a number of artists I came to the conclusion that it takes time for your hand to do what your brain tells it. It can be frustrating, because you KNOW things but the hand just won't cooperate. Keep at it and it will come to you. I guess that is what this challenge of daily painting is all about.

I like your trees in the landscape. The foreground tree is very well done. Your design work is very interesting. The straight lines of the 'v' contrasts nicely with the curved lines of the flower and leaves.

Mary- Thank you for the kind words of encouragement. I love using pastel and I know they will always be a big part of my art life, but I am enjoying learning oils. It is fun going back and forth with mediums. I am happy to hear you like my use of color. Color will always be a big part of my paintings. I am a color geek.:D


Here are the latest two paintings for the challenge. The first is a pastel painting. It is painted on 5 x 7 brown Pastelmat using the Maggie Price Value Set of Terry Ludwig soft pastels. The set is made up of ten hues and each hue has six values. It was interesting having just a few pastels to choose from. Sixty pastels might sound like a lot, but I have about a thousand pastels sitting on the pastel table.:o I made a promise to myself that I would't buy any more this year. So far so good.

#39
http://www.wetcanvas.com/Community/images/28-May-2012/102199-May_27_Landscape.jpg

The next is a WMO painting using a triad of Ultramarine blue, lemon yellow and cadmium red hue along with titanium white. I used Larry's idea of premixing the paint again and it really helps. I did this painting in about half an hour, so I know it helps keep you in the painting mode. It is also 5 x 7 and is painted on a canvas panel. I toned the panel with some mud mixed from leftover paint from the last painting.

#40
http://www.wetcanvas.com/Community/images/28-May-2012/102199-May_28_Landscape.jpg

Thanks for looking.

Doug

[Dougwas]

This is painted from a photo I took last week. Shuswap Lake is on the rise with melting snow from the surrounding mountains and trees and shrubs that would normally be far from the lake are now along the shoreline or under water. I thought it would make a good reference for a painting with a little dramatic feel to it. It is standing there in defiance.

It is painted with the same triad as yesterday. The WMO's are a little sticky, but I managed okay. It is painted on a 4 x 6 canvas panel.

Thanks for looking.

http://www.wetcanvas.com/Community/images/29-May-2012/102199-May_29_Landscape.jpg

Doug Wasilieff

[Dougwas]

Here is number 42. It is painted with the same palette as the last two paintings. It is painted on a 5 x 7 canvas panel and I used a reference photo by Paula Ford. I have painted this in pastel before, but this is the first time in oils.

#42
http://www.wetcanvas.com/Community/images/30-May-2012/102199-May_30_Landscape.jpg


Doug

[LarrySeiler]

Like that Libby..lot of energy in your outdoor piece. And treating form as colored light..edges loosely...nice effort there!

Doug...seems you are consistently looking to avoid symmetry in a compelling way compositionally. Good for you...you have enough intrigue to carry the works thru with plenty of color to make them delightful...

[Dougwas]

Thanks, Larry. My wife always says I am unbalanaced, so maybe in comes naturally. ;)

I thought I would show you my new toy. You have inspired me to try to get out there and paint, so of course I needed a painting box. Timing is everything. My wife and I just celebrated our 31st wedding anniversary and she didn't know what to get me. Now I just have to get the nerve to go out in public and paint.

It is the Guerrilla 6 x 8 Thumbox. It will sit nicely on my lap while sitting. It can handle 6 x 8, 5 x 7 and 4 x 6 panels, so it seems to suit my needs for now.

Thanks for all the encouragement.

http://www.wetcanvas.com/Community/images/30-May-2012/102199-Thunb_Box_Closed.jpg

http://www.wetcanvas.com/Community/images/30-May-2012/102199-Thunb_Box_Opened.jpg

Doug

[LarrySeiler]

Awesome, Doug....good for you. I'm a fan of the Guerrilla box...bought a dozen of the 9"x12' boxes a few years back so I'd have some on hand for workshop students in the event of not having a box or wanting to travel light. I have looked at tne thumb box myself...'cept I bought hardware and converted a couple wood cigar boxes I bought at a magazine shop. Perhaps they qualify more as a novelty than the fine craftsmanship of ypur box...but do for now.

I'm sure you will love it...

[Dougwas]

I am sure I will get addicted to plein air painting. I love being outdoors and I love painting, so it should be a fun experience. The box is the perfect size for my needs. After reading some threads in the Plein Air area of WC, this probably won't be my last painting box. Oh well. There are worse and more expensive habits to have.

It has been a few days since the last painting. I decided to try the Thunbox in studio before taking it out on location for the first time. It felt a little weird at first, having the box sit on my lap, but then it was just like normal. The palette is a little smaller, but I am sure I will get used to that. I will also get better in knowing the amount of paint to put on the palette.

This is painted on a 4 x 6 canvas panel and I used W & N WMO's. I used a different split complementary palette. This time it was ultramarine blue, cadmium yellow medium and cadmium red deep along with titanium white. I like the greens you can make with this palette. The values can use some work.

#43
http://www.wetcanvas.com/Community/images/04-Jun-2012/102199-June_04_Landscape.jpg

http://www.wetcanvas.com/Community/images/04-Jun-2012/102199-Thumbox.jpg
Doug

[Dougwas]

Here are the latest two paintings. The first is painted with the same palette as the last post and painted from a photo reference. It is painted on a 4 x 6 canvas panel using WMO's.

The second painting is also painted on a 4 x 6 canvas panel using WMO's, but it is painted from life. I have been itching to get outside and do some plein air painting, but the rain hasn't stopped, so a still life from life will have to do for now. I just used two colors (ultramarine and cadmium yellow pale hue) and titanium white just for tinting. It was a challenge painting a white object without using pure white in the painting.

#44
http://www.wetcanvas.com/Community/images/07-Jun-2012/102199-June_05_Landscape.jpg

#45
http://www.wetcanvas.com/Community/images/07-Jun-2012/102199-June_07_White_Bowl.jpg

Thanks for looking.


Doug

[Pinklady219]

Just putting another pic up here for Larry to critique. Let me know and thank you so much!! Carol

[LarrySeiler]

Just putting another pic up here for Larry to critique. Let me know and thank you so much!! Carol


hope you'll continue to push the envelope even if I am not around to make comment. It is mostly about your growth...and I do not obligate myself to critique...but do try as I may here and there.

If I were to convert this to grayscale...there would be a lot of similar values. Try to push more variation. Keep your darkest darks nearer...

also...be prudent with edges, which always read as a detail that supports or suggests depth illusion. For example distant edges of snow banks and such that appear harsh. Soften and obsess with edges, breaking them up, obscuring, etc., a harder edge says "here"...not back there...and when you put harder edges "back there" it flattens the illusion of depth....

Into my second day at a plein air event. A ten day event in total...so, off to paint. Take care...keep at it everyone!

[Tresgatos]

Hi Larry,

Wow - sounds like you are having a great time plein air painting - envy, envy. I wanted to share a painting I just finished that I had re-done in WN water soluble oil paints from a watercolor painting I had done last year. Managed to change a lot about it and feel it is better than my watercolor. Was hoping for some constructive critique but you are having too much fun so I will post in another area for critique, however, I did want you to see that I am still trying to paint. This particular bird is a Rainbow Lorikeet and lives in New South Wales, Australia. It may live in other places but haven't gotten that far in my research. My Cousin had sent me a photo of this bird and said it was his regular garden visitor. He is getting married in July of this year and I wanted to send him this painting as a wedding gift but needed to see if it needed anything else before I send it off.

Barbara

http://www.wetcanvas.com/Community/images/14-Jun-2012/113757-cropped_sized_etc_DSC_1325.jpg

[Pinklady219]

Larry, I took your advice and came up with this one. Thank you so much for your help. You have no idea what it means to me to improve with my painting. Carol

[LarrySeiler]

There you go...you've pushed your values contrast...and color. Back there feels back there...near feels near. Very nicely done...

[shercules]

Hi I am fairly new and started doing a daily two days ago and would like to participate in this project if I may. I am looking to expand my skills and open my creative mind up more so I am trying to do these paintings quickly. My size is 8"x10" on these. The first is the leaf done on 06/28 and the second was done today 06/29.

[LarrySeiler]

I like all that I am seeing here...I'll just say again, that the daily exercise should not, ought not interfere with your regular painting regimen. It should ask little of your time. A one hour post card size effort.

Not to say that other sizes, other efforts are not working to help you improve, but this self-assignment ought not to feel burdensome, nor overwhelming. It ought not take place of your regular painting regimen.

I've been gone to a plein air event for ten days...quite fun, extremely exhausting. I had one piece that was awarded an Artist's choice...which is perhaps the best award in my mind, chosen of your peers...by 167 other painters.

It was of Jason Prigge, another painter...at the end of a long day, sitting beneath the lights of a micro brewery Inn...reflecting on the day, enjoying a porter or two. A throw back to the days of the Impressionists, friends gathering at the cafe...even painting one another. It was a nocturne, that is...painted at night. From 9pm til about 11:30 pm...20"x 16" oil...

http://www.wetcanvas.com/Community/images/29-Jun-2012/532-jasonprigge_framed.jpg

and another...was painting a painter, painting a festival...125,000 people, during the Strawberry Festival in Cedarburg, Wisconsin...12"x 9"...the artist is Mark Zelten

http://www.wetcanvas.com/Community/images/29-Jun-2012/532-markzelten_paintingwc.jpg

Every painting certainly advances us...but many works obligate us for one reason or another with its end necessary to fulfill a cause, event...commission, etc.,

these 120 paintings...are to be small...or 6"x 8"...6"x 4" or 5"x 7" and the time held to an hour or less means...and thus we can experiment, try various palettes, tones and undertones, etc., and educate ourselves to very specific things. Glad to see the works...keep pushing,

:)

[LarrySeiler]

http://www.wetcanvas.com/Community/images/04-Jun-2012/102199-Thumbox.jpg
Doug


awesome box, Doug...way cool!

I have a dozen Guerrilla boxes and tripods, for workshops...students to work with. A great box...

[shercules]

http://www.wetcanvas.com/Community/images/01-Jul-2012/1055572-IMG_0225.jpg

Hi Larry–

This is my third painting. Again it is an 8x10 because I bought 7 of this size canvas board and it is oil. I painting this in approximately 1 hour and 20 minutes. It my back deck looking out the window.

I really enjoyed doing this although I am not crazy about the turn out. I did no preliminary work, didn't lay anything out, no sketch, no nothing. So looking at it I see distortion and a lack of depth, but I don't really care. It was great to just lay down some paint and relax about the whole process. I am excited to continue doing this. Also I have started a blog as suggested if you or anyone else is interested, http://alenasdailypainting.blogspot.com/

[LarrySeiler]

http://www.wetcanvas.com/Community/images/01-Jul-2012/1055572-IMG_0225.jpg

Hi Larry–

This is my third painting. Again it is an 8x10 because I bought 7 of this size canvas board and it is oil. I painting this in approximately 1 hour and 20 minutes. It my back deck looking out the window.


Nice effort in 80 minutes! Good...keep it up! Keep it small...direct, unobtrusive to your day's time and commitments. This way, one will develop the habit to do this a long haul. Also, its funny...when you miss a day or two after developing the habit, it will get to you. A bit of emptiness...which is good, it means you are connecting, learning, growing.

I would suggest squinting your eyes...see the darkest darks, darkest accents in the foreground to be played against the mid and most distant background. Push those darks to get more pop, more dimension and depth illusion. Darks are darkest nearer to the eye...the same darks lighten going back...

nice..!

[shercules]

http://www.wetcanvas.com/Community/images/01-Jul-2012/1055572-IMG_0228.jpg

This is painting #4. I haven't done a still life since college, it was fun. I didn't have a piece of fabric per sae, so I used an old hair cutting cape from my hairdressing years :lol:. It is an interesting iridescent purple, blue, and pink but I didn't even try to go there! The pitcher is very old from my great grandmother and I have wanted to paint it for a long time. For not doing any prelim work I feel pretty good about the over all shape. This one was more fun than yesterdays by far for me.

same size, oil on canvas board and 2 hours :(

[ItsaWonder]

Larry! Congraulations on your much-deserved Artist's Choice award. What an awesome piece of work. And I love, love LOVE the one you did at the Strawberry Festival. Gorgeous piece. How inspiring.....

I am going to a one-day plein air workshop in a couple weeks specifically so I can paint the other artists...I'll post here if I manage anything worth posting!

Meredith

[shercules]

http://www.wetcanvas.com/Community/images/02-Jul-2012/1055572-IMG_0232.jpg

Hi Larry–

Thank you for the feed back on the outdoor painting. It's funny creating depth with shadow can really be a problem for me at times. I am using your squinting suggestion and can grasp what you are saying. I am currently mid painting so this has been great for me to practice and I even think I can use some of these for studies to paint in a larger size.

Any way here is painting #4

This is from a photo, my goal of course was to paint it quickly but to also really lay on the paint and not blend it so much. I really like the way this one works. Not being "neat" with the paint and creating "nice" edges is difficult for the control freak in me. When I got to this point in the painting I stepped back liked it and put my brushes down. I am really enjoying this challenge.

Thank you again,
Alena

[Tresgatos]

Hi Larry,

Congratulations on the Peer Award - it is important to be honored by other artists - I too can see why you received the award - beautiful painting.

Love the other painting too.

Thank you for sharing these with us.

Barbara

[shercules]

Good afternoon Larry–

I am really enjoying this. Here is painting #5 from a photo I took a couple of years back in Rhode Island. I did a quick sketch to put the gulls in place which took about 10 minutes, but the painting aspect of it took around an hour more give than take. Over all I am very pleased with this.

Alena

http://www.wetcanvas.com/Community/images/03-Jul-2012/1055572-IMG_0234.JPG

[Pinklady219]

Here are a couple pics I did lately. The sunflowers are colored pencil, black ink and watercolor. I know it's a mix up but I was experimenting to see if watercolor would go over pencil without changing the color (no it changes the color). The other is watercolor with horse. Thank you for your critiques. Carol