Watercolor Works

New Blog...

2011-09-20T15:47:00.000-04:00

To those of you who have been following me, I have moved the active blog to a new location...
Hope you can join me there!
http://debbiejohnsonartist.wordpress.com

Intertwined - a new watercolor

2011-08-30T13:43:00.004-04:00

Okay, a new painting..."Intertwined". This piece will be showing at the Art and Antique Studio and Gallery for the months of September and October.
The masking on this painting was pretty intensive; there was a ton of detail. I have to admit that I love getting lost in the mechanics of producing a work like this. This piece is painted on a half sheet (15 x 20 inches) Arches 140 lb. cold press and was created with my layering technique (see older posts for details on the process).

I hope you enjoy it. Let me know what you think and thanks for your patience between posts. Now that I am in school, it takes much longer to produce my paintings. I have just started another piece on canvas, a landscape. I'll post it as soon as I complete it.

ShellABration - watercolor on canvas

2011-08-13T09:27:00.006-04:00

Yeah! Another eight by eight inch watercolor on canvas painted for the Art and Antique Studio's ART of Eights Project. This is such a fun little art project to be involved with. You can find out more on their website: http://artandantiquestudio.com/ArtOfEightImages.htm
I have completed a few of these little gems and they really are fun. I have sold a couple of paintings through this project and the exhibit looks so nice as all the paintings, although in very different styles of the different artists, all of the paintings are the exact same size and shape.

I love painting watercolor on canvas. It's such a nice experience to feel the "bounce" and life of the canvas under my brushes.

This piece was done with my Layering Technique explained in previous posts. My husband dubbed it, "Shell-A-Bration". The sunny colors make it feel like a celebration.
I love hearing from you. Let me know what you think!

Birds of a Feather - watercolor

2011-08-07T08:32:00.005-04:00

Have you seen this piece yet? It ended up as a half sheet painting, but it started as a full sheet. After completing the painting, I realized there was just too much in the background. I found that by using two white mat corners I could test cropping options and ended up cropping it to this as the final piece. It is framed in a simple gold frame with a white mat.

The birds were really fun to paint! They each had such character and the colors that resulted from the layering technique were surprisingly pretty.

I named this piece, "Birds of a Feather".
Enjoy.

Painting Is Named

2011-07-18T08:04:00.002-04:00

Thanks to everyone who helped to name the basket painting below. It shall now be dubbed, "Mom's Back Porch". People here on the blog and on my Facebook page all had wonderful, fun and thoughtful suggestions. Jane Barnwell is our winner. Part of what helped her to win was the fact that she added such a touching memory of her mom that was brought about by viewing the painting. Touched our hearts.
Thanks again to everyone! We really enjoyed reading the suggestions, and they may be used on future paintings!
Debbie

Help Me Name This Painting

2011-07-13T16:05:00.000-04:00

Okay, this is my latest painting and I just can't think of what to name it! Comment below and give me your suggestions and the winner will receive a boxed set of 5 cards with this image.
The winner will be announced next week.
Love hearing from you!
Thanks in advance for your submissions!!!

Just completed Breakfast Nook

2011-07-07T18:28:00.000-04:00

Well, since I went back to school (yes, after 35 years I have gone back to take a few classes at our local community college!) it has been harder to find time to paint. I usually work on my paintings a few times each week, so they are taking much longer to complete. This isn't too bad, though, as I have time to ponder what I'm doing and where I am going with each piece...between homework and classes!

I call this piece, "Breakfast Nook". I used a photo reference that I took last year while plein-aire painting at a garden in Vero Beach, Florida, with my friend Barbara. The home was just as lovely as the gardens and I shot several reference pictures while going into the old home for lunch. This was the entry way to the house off of the front porch. I loved how clean and simple the room was and how the light from the gardens outside gently fell on the table.

The layering technique that I employ is most easily seen in the background and on the lazy susan on the table.

Let me know what you think. I really do enjoy hearing from all of you!

Annuals - Completed

2011-06-22T09:00:00.003-04:00

Ah, the finished painting.

Once this little guy was completely dry, I took it outside and applied four or five very thin coats of Clear UV safe spray varnish.

You can see that I glazed a lot of color and darker values onto this piece, but the first two layers just glow through!

This piece will be posted for sale on the Art and Antiques Art of Eights Project web page.

I love hearing from you!

Thanks!

Annual Watercolor on Canvas Final Stages

2011-06-21T09:05:00.001-04:00

Now for the big "reveal"!
I use a masking fluid pickup tool to lift the dried masking. It is a great little tool, inexpensive and very clean and efficient.

I took the mask off this piece after only two layers because I didn't want to go too dark too fast. I wanted to see what had transpired and then go from there.

As you can see, the values are still a bit light. I love to have strong value contrasts from very light to very dark as this adds lots of drama to the painting.

I can still see a small bit of the graphite I applied, so I know where I want to add some darker glazes.

I used a variety of colors from my palette and glazed on white a few layers in small areas using a number six round natural hair brush.

Be sure not too scrub your layers on, just gently float them on. If you scrub, the canvas has a tendency to let go of the color previously applied. This is good if you don't like an area. With canvas you can lift all the way back to the white quite easily, but I didn't want to lift on this painting. I was happy with what was there - it just needed some punch.
Stay tuned, the big reveal will be in my next post!

Annuals - Watercolor on Canvas Technique

2011-06-20T10:00:00.000-04:00

The first application of paint!
This is such a blast! I use a large, soft bristled brush to gently float water over the entire canvas. Have lots of paper toweling on hand as this gets very drippy and messy.

I use three colors that relate to the primary colors: New Gamboge, Quinacridone Magenta, and French Ultramarine Blue. These are just my go-to colors. They seem to work so well and blend nicely.

I dribble the wet pigment into the water on the canvas, and allow it to flow and blend. Don't tip the canvas too much or you will create a solid color or just mud. Notice that I apply the colors somewhat carefully, adding the blues to where I will develop darker values and lighter, wetter, warmer dribbles into areas that need to remain lighter.

Allow this to dry thoroughly. Then apply masking to the next darker value (value number two). Just remember that the masking saves the lighter areas. Your whites are already saved, now save the next darker color. Do the same for each application until you get to the darkest darks.
Apply the next layer of paint in the same manner as the first, but use stronger pigment with each application. You can also switch to a different color trio if you like.

I use a small spritzer to control the wetness and flow of the colors. I can also use it to "wash" off color that is too dark or the wrong color. To blend the pigment use a very light spritz, to wash color use a more forceful direct spray. Be sure to allow the color to drip over the sides of the canvas. I love to work on gallery wrapped canvas because the pigment flows onto the sides and creates lovely patterns. I don't have to frame it when I'm done, either!

Annuals - Next Step

2011-06-19T09:00:00.000-04:00

Okay, back to the Annuals painting...
values with a graphite pencil. With each layer of paint much of this graphite will lift off, so I pencilBecause I will be using lots of water and very wet pigments on this piece I gently scrub in my darkest in quite a bit to see where I am going.

You can see I use quite a bit of pencil so that I will have graphite left after each application of paint to help me navigate my way through to the end.

Just be sure you don't push too hard with your pencil. Use a soft lead so that you can deposit a good amount of graphite without damaging the canvas or scratching through your absorbent ground.
You can mask either before or after this step to save the whites (value number one).

Watercolor on Canvas - Annuals

2011-06-18T10:35:00.006-04:00

As promised, I took some process photos of this project so you can see how I work.

This is an 8 by 8 inch canvas which I painted for the Art of Eights Project through Art and Antique Studio and Gallery (http://artandantiquestudo.com/Artof EightsImages.htm).

I used Golden White Absorbent Ground mixed with water (1 part ground, 2 parts water). I applied this mixture onto my canvas in 4 to 5 very thin applications, allowing each application to dry thoroughly before I added the next.

Once all the ground was applied and dried, I created a pencil sketch of my subject. This piece was created from a scene in the Eau Gallie Arts District in a beautiful garden center.

My next step is to apply masking fluid to any area that I want to remain white. There are only a few small areas in this piece, so the masking went very quickly.

I also tested some quinacridone colors to see which might look nice in this piece.

More to come...stay tuned.

Preparing a Canvas for Watercolor

2011-06-09T08:42:00.005-04:00

I have been asked often how to prepare a canvas to make it work with my watercolor and layering technique.

Golden makes a product called Absorbent Ground. I use White Absorbent Ground, mixed with one part ground and 2 parts water as a gesso on my canvas. It's important to use this mixture over any canvas before painting with watercolor. I like to purchase the pre-gessoed canvas then apply my ground mixture before I paint. I apply 4 - 5 very thin coats evenly over the entire canvas. Allow each coat to dry thoroughly before applying the next. This creates a beautiful, sturdy surface to work on with watercolor. It takes quite a bit of abuse and handles the masking and layering of pigments well also.
The most fun part of working with watercolor on canvas is that I can lift it completely if I choose. Use a wet brush and scrub the surface, then dab with a paper towel or dry cloth. It's a fun surface and has lots of potential.
Once your painting is complete, spray a clear UV coating over the canvas to waterproof it and protect it. I love to work with gallery wrapped canvases so that I don't have to worry about framing!
I am starting a new small canvas today. I'll try to post photos soon.
Here is one that I finished and sold recently. It is called "Eau Gallie Market".
Hope you enjoy it and let me know if you try watercolor on canvas!

Shore Spectacle, Pelican in Watercolor

2011-06-04T10:08:00.004-04:00

This guy was challenging and fun. Here in Florida there are lots of pelicans and this guy posed perfectly for me. I worked on this piece for quite a while. When I removed the masking, the values in the water and the bird were too similar, so I glazed the water with a very wet, thin wash of French Ultramarine Blue to cool it down. It worked. The happy bird suddenly popped off the page. I was very happy with the result on this one.

For those who want to create these types of colors I used: New Gamboge, Quinacridone Magenta and French Ultramarine for the first pour/layer. Subsequent layers were created with combinations of these colors plus Quinacridone Gold, Permanent Alizarine Crimson, Pthalo Blue, and Burnt Sienna. The secret is to only pour with two or three colors at a time and to prevent the colors from blending too much (creating mud!). This means lots of layers, lots of drying time and lots of time to think about the next application of paint. My favorite thing about this technique is that I can create details and crisp lines with the masking fluid, yet keep the wet, gorgeous color blends with the layers of poured or very wet washes.

I hope you enjoy this one! And I love to hear from you. Please feel free to leave your comments!

Market Baskets

2011-05-07T10:36:00.006-04:00

My most recent painting, titled "Market Baskets" was just finished yesterday. This piece was done on 140 pound Arches watercolor paper with my layering technique (see previous entries to learn my technique).
I saw these baskets at a fruit market one day when my friend Barbara and I were plein aire painting in Eau Gallie, Florida. When I saw the light glittering through the baskets, half in shadow, half in sunlight, I just knew they would make a great painting. I ran over with my camera and shot some reference photos right away. I could hardly wait to start working on drawings. Here is the result of the work.

Students at Work

2011-04-07T09:34:00.005-04:00

My advanced students have been learning my "Layering" technique, AKA Pouring. This is a Palm Tree Study that I did as a demonstration, and they created the same painting with wonderful, and varying results.

The color blends in this technique are just so much fun! The movement in this piece is nice also.

This is the frosting on the cake, to tweak the final piece, and making it a work of art!

This is Dawn, who is removing the masking from her painting of a surfer. Everyone watched the "big reveal" and were excited to see what happened during the painting process.

As usual with these pieces, there are a few areas that need to be warmed or cooled with glazes of color as well as darkening values that were masked too early in the painting process.

Palm Fronds in Watercolor

2011-03-30T09:49:00.006-04:00

This is a recent painting that was inspired by a photo from my friend Lin Sons. She took a photo of these frilly palm fronds in her backyard. Thus, I named this piece "Lin's Palm".

This piece is done with my Layering/Pouring technique. It measures 23 x 30 inches and is framed in a gold metal frame. It can be seen in person at the Art and Antique Studio and Gallery on Highland Avenue in Melbourne, Florida.

I really loved the lines and shapes in this piece. I also had fun working with darker values, especially in the background where some of the flora is almost hidden with glazes of blue. Let me know what you think!

Mini Watercolor on Canvas - Beach Chairs

2011-03-10T10:02:00.004-05:00

Watercolor on canvas is really fun. I did this little piece recently from a photo I took while at the beach last year.

Yes, this piece is layered (poured). I treat the canvas with Golden's White Absorbent Ground, several thin coats. Then I treat it just like I would any watercolor paper. The nice thing is that I can mask and dribble paint, and I can also easily lift! This little painting is now on my etsy shop.

Enjoy!

Tossed Salad Won the Prize

2011-03-02T17:24:00.004-05:00

This little painting is one that I created for last weekend's Brevard Watercolor Society SPLASH event. This piece was in a challenge - Paint your favorite recipe. Each painting was to be 11 x 14 inches, matted and accompanied by the artist's recipe. I dubbed this one, "Tossed Salad".
Well, not only did I win the voter's choice for this contest, I also sold the painting to a wonderful couple from our area. Lots of fun!

Print Winner Announcement!

2011-02-14T21:01:00.007-05:00

Contest Results (see previous blog post).

There were some great suggestions for the new name of the technique I have been experimenting with for this past year - and some were downright silly! People sent emails, posted comments on my Facebook page, and commented here at the blog.

We were searching for something simple, a one or two word description that was not too difficult to remember, yet very descriptive of the technique. I can tell that most of you read the blog entry describing the technique - thanks so much! The technique is modeled after Jean Grasdorf's "pouring" technique, except I don't actually "pour" the paint as Jean does. We wanted a name that would differentiate my method from hers.

Ken and I decided to give Pete Myers, of Oxford, Michigan the print, since he is the closest to our parameters for making the final decision. We will use his term with an addition of one word to make the technique name clear, concise and easy to remember. The small print is of "Cocoa Village Shadows", one of my most recent paintings employing this technique. It is matted and ready to frame.

Again, thanks to everyone for participating. I'll try to have more fun events like this in the future, so stay tuned. Watch for future posts of more paintings created with my "Macro Layering" technique!!!

Bicycle Shadows

2011-02-09T11:26:00.004-05:00

Introducing "Bicycle Shadows", one of my latest works. It was created on a half sheet of Arches 140 pound paper. This piece, as most of my latest work, was "poured".
A friend recently suggested that I come up with a different name for my process than "poured", as I don't really pour the paint. To create these works I use a value scale of 1 through 6, 1 being white and six being the closest color to black I can create from the colors on my palette.
I first create the drawing, trace the pencil sketch and then do a value study in various shades of gray and black marker. Then I transfer the drawing to my watercolor paper and mask the white areas. At this point I wet the entire sheet of paper with a puddle of water and allow it to soak in for a few minutes. Then, using a large round brush, either 14 or 16, I dip into the paint on my palette and dribble and stroke it gently onto the very wet paper. I use three primary colors for each application: my favorites are New Gamboge, Quinacridone Magenta, and French Ultramarine Blue. I apply the colors next to one another, not directly on top of one another, then I tip the board that holds my paper (I tape the paper to a foam core board with 2-inch masking tape) and I allow the colors to gently blend a little. The first application provides the 2 and 3 levels of value on my painting.
As I proceed through the painting I allow this to dry completely - usually overnight. Then, I mask the level two and three values that I want to save, and again wet the paper and apply the pigments. Each time I apply stronger and stronger pigments, never brushing to disturb the layers of paint below. I continue on with the process: dry, apply masking, wet the paper, apply the pigment. This continues until I reach those darkest values of deep color.
It's a fun, messy, and time-consuming process that produces colors and glow that I have not been able to achieve in any other manner.
If you have any ideas for a name for this technique I would love to hear them. My husband and I will go over the suggestions and if we pick yours, I will send you a small print of one of my paintings using this technique!
I would love to hear from you!

Another Little Palm Frond

2011-02-03T19:16:00.004-05:00

Another Little Palm Frond

Ah, it has been too long...
This piece is five by five inches, and it is watercolor on canvas. Yes...on canvas. I've been playing with pouring watercolor, well, I splatter more than I pour, but I have been experimenting with this technique on canvas also. So much fun.

The canvas must be treated with a white absorbent ground, then it will accept the watercolor pigments and even masking fluid beautifully. Once the painting is completed it must be sprayed with a UV clear coat to protect it.

One feature I love about the completed paintings executed on canvas is that the paint drips over the edge and creates beautiful color blends on the sides of the gallery-wrapped canvas. They are too pretty to cover with a frame!

This piece was just listed on my etsy shop and I have another one there also, which is a miniature on canvas.
Enjoy: http://watercolorgirl.etsy.com

Watercolor on Canvas - Crabby

2010-12-04T08:30:00.003-05:00

Now that the Thanksgiving festivities are completed, I can get back to a little artwork. I have taken a few diversions this week and played with beads and jewelry things, but I do have a new image to show from my painting studio.

This is "Crabby". It is a poured watercolor on canvas. The canvas was treated with a special ground to make it act like watercolor paper. Then I use the same pouring method I have been experimenting with for the past year. After the painting is completed, all masking is removed and the final touch-ups are done, I coat the painting with a clear UV coating to preserve it.
This piece is 16" by 16". The most exciting part is that the paint drips over the gallery wrapped edges and I don't have to frame it. I think the colors in this piece came out so nice.
Hope you enjoy it.

Cocoa Village Shadows - New Painting!

2010-11-11T12:37:00.007-05:00

Hot off the drawing board! This is my newest painting which will be one of the piece displayed in the ArtWorks Festival of Eau Gallie on November 20 and 21st. This was a fun piece and the colors came out quite nice. I am finally getting the hang of this pouring technique and adjusting it to my liking. I am finding that certain subjects work better than others and I have found a grouping of primary colors that work well together. There is very little brushwork on this piece; the majority of the painting was poured. It measures 23 by 32 inches framed.
You can learn more about the upcoming show at: http://artworksofeaugallie.org/

Hope you enjoy it!

Frond Doo - New Watercolor

2010-11-06T12:13:00.004-04:00

Okay, another piece ready for the upcoming ArtWorks Festival in downtown Eau Gallie, the location of the Eau Gallie Arts District in Melbourne, Florida. This one is dubbed, "Frond Doo". It is a full sheet painting and framed in a nice wooden frame.

I will be displaying all of my new pieces at this upcoming show the weekend before Thanksgiving. I have some new watercolors on canvas that will be shown for the first time as well. If you are in the area I sure hope you will stop by and say hello.

If you are interested in some of my older pieces, I will be having a sale at the Art and Antiques Studio and Gallery at 1419 Highland Avenue, in the arts district, along with many of the other gallery members. There will be lots to do and see during the ArtWorks Festival. There is so much talent in this area...so inspiring!

Life has been busy lately with some family emergencies, which are all fine now. I apologize for not writing more lately. I haven't had much time to work for the last month, but I hope to get back to work this week. Thanks so much for visiting.

New Painting - Bird Man

2010-10-23T13:03:00.004-04:00

I've been away for a few weeks helping with some family issues in Michigan, but now I'm back! This is a piece I worked on over the summer and just framed today. I call it "Bird Man". This was a man I saw last summer feeding the birds on the beach at Indialantic, Florida. When he walked onto the boardwalk the birds immediately started to gather, so I am assuming he was a regular there. I could see his delight and patience with the birds and each bird had a personality of its own, some cranky and rushed, some slow and patient.

The colors in this piece were fun and I did a little direct painting into the darkest areas and on the birds at the end of this work.

I will be showing this piece along with many of my newer paintings at the ArtWorks of Eau Gallie art show coming up the weekend before Thanksgiving. Please stop by and say hello if you are in the area! Details are on the Upcoming Events page of my website: http://watercolorworksart.com/events.htm

A Better View

2010-10-01T09:06:00.004-04:00

This is another poured watercolor on Arches 140 lb. paper. It is 21 inches high and 14 inches wide. I just framed it and will bring it to the gallery today as we are part of the First Friday Gallery Walk and Fall for the Arts Festival in the Eau Gallie Arts District (EGAD). http://eaugalliearts.com/

This was a fun piece. I'm learning so much by experimenting with this technique. After many paintings, I am beginning to learn which colors, subjects and methods work to achieve the results I am looking for. I'm excited to say that I will be showing some even more brave pieces soon. I am taking this technique a step further and will have some work to show for it very soon!

If you are in the Melbourne, Florida area, please stop by the gallery tonight (or anytime) and see what we have to offer. There will be a lot going on tonight as a large part of the arts community will be in the art district celebrating Fall for the Arts. There will be demonstrations, live music, dance performances, and more! Stop by and say "hello!".

Convolution - Newest Painting

2010-09-23T11:56:00.003-04:00

This is one of my newest "poured" paintings which I call "Convolution". This is a fun, but challenging technique based on Jean Grasdorf's pouring technique. I don't actually pour, but I apply the paint to a very wet surface. I am finding that certain subjects lend themselves better to this technique than others. I just smile when I remove my masking and see the final result of colors blending into subtle mixtures!

Daughter and Me

2010-09-22T10:48:00.005-04:00

My daughter and I are working on a collaborative art project, remembering the years I was a single mom and she was a little girl. The project is dubbed "94 North Shore", which is the address of the house I owned in those days. You can view our conversations, sketches, and process as we blog together.
As artists, we have much in common, but the memories we have of our lives over 17 years ago are very different. We are learning so much about each other and enjoying the process of creating a body of work together.
Click here to view our project blog:
http://hannaclark.tumblr.com

Pine Lake Cottage Completed

2010-09-21T09:13:00.004-04:00

Ah, the finished painting! I had such a great time creating this piece! Ironically, I camped at this lake as a child. As I was painting it I was reminded of how tall the trees in Michigan can grow. They produce a cool, dappled shade on the lawn and reflect in the waves of the water. I can remember the cool summer breezes off the lake, and the smell of the fresh air! I really hope this painting captured my emotions.

I have a small booklet on my etsy shop about How to Paint Trees. I have clear descriptions of how to apply watercolor in glazes to create the illusion of foliage. The booklet covers several different types of trees and includes palm trees, which I added when I moved to sunny Florida!

Click here for my etsy shop.

Cottage Painting Progress

2010-09-18T17:00:00.004-04:00

I'm nearly done! Just a few more details and I'll be able to sign it, mat it and deliver it to my client.
This piece is feeling very good. I'm happy with the "sparkle" it seems to have and I've been able to keep the scene looking sunny. I want to add more glazes to the water to add some depth and texture. The water should be darker than what it is reflecting, so I have lots of room to glaze and play. Painting the sun spattering onto the lower parts of the trees was lots of fun.

I'll try to post the finished piece soon.

Progress on a Commissioned Painting

2010-09-17T09:00:00.005-04:00

I'm making progress on the cottage painting. My foundational washes are all in and I have begun to add the texture and values to the trees.

The reference photos were wonderful and sunny, so I am able to incorporate a lot of color which will add warmth and interest to this big landscape painting.

I'm totally enjoying this painting as I am working in my comfort zone. It's like curling up with my favorite blanket and book on a cool afternoon.

Commissioned Cottage Painting

2010-09-16T09:00:00.002-04:00

Recently I received a request to create a painting of a little cottage in Michigan. Since I have been experimenting with new techniques most of the summer, going back to my old method of painting holds a certain comfort for me. I am enjoying the tried and true techniques which have given me such nice results for so many years.

I am using photos from the client as references. She took wonderful photos, which really helps in creating a painting of a place that I am unable to visit in person. She took views from several angles and lots of detail photos so that I understand what each of the garden objects look like. The photos were also taken in bright sunlight which shows the nice shadows and helps to define the depth and dimensions of the subject.

Here I have lightly sketched the subject directly onto my watercolor paper. This should be a very fun piece to produce!

Students Painting of Palm Tree

2010-09-15T09:58:00.004-04:00

Palm Tree by Barbara Simpson, Melbourne.

Barbara is one of my students and she sent this picture to me. She has been working on this piece at home. Thanks Barbara for sharing this photo!

I really like the angle of the view into the tree and the colors of the berries are varied and bright compared to the cool background. The movement of the palm fronds and the branches that hold the berries is nice also. Nice job, Barbara!

I love getting photos from my students on the projects they are working on outside of class. It is wonderful to see the growth in technical handling and the fact that each person's own visual voice comes out in a unique way as they learn to control the medium. I can teach and motivate, but the students have to do the work to get to a place where they can truly express themselves!

Memorial

2010-09-11T09:22:00.001-04:00

Quietly, sadly, remembering the tragedy that happened nine years ago in New York, Pennsylvania, and at the Pentagon.

Straw Hat in Watercolor

2010-09-06T09:52:00.005-04:00

This is another "poured" piece that I recently completed. I'm still experimenting with this technique and finding that certain subjects lend themselves better than others.

I liked the solitary feeling of this woman on the beach with the group of other people in the distance. The colors are happy except for the blues around the lonely woman. Her hat, and perhaps her thoughts are the only cheerful, sunny items around her. Perhaps she went to the beach for some solitude.

Ginger's Painting

2010-09-01T13:21:00.004-04:00

Ginger has been a student with me for about a year now. She pulled out this beautiful painting the other day to show the class. It is one she did on her own, using various references and employing several techniques. What a beautiful piece! Thanks for sharing Ginger!

Classes begin again in September at the studio in Melbourne, Florida. If you are interested in classes, please visit my website:
http://watercolorworksart.com/Classes.htm

First Friday Gallery Walk

2010-08-07T11:29:00.005-04:00

Last night was our monthly First Friday Gallery Walk in the Eau Gallie Arts District (EGAD). We had a nice turnout. During part of the evening I demonstrated some of my new painting techniques. The gallery featured three special shows. First, our Second Annual Miniature show, which was excellent. The quality of the work this year was amazing. Awards were handed out and everyone who visited really enjoyed the work.
Second, our ongoing monthly Art of Eights Project was also showing. The 8 x 8 inch canvases are displayed in the gallery for one month, then on our website for three months. Each piece reflects the artist's personality and all are well-executed.
Third, the front room of the gallery features several paintings by some of our gallery members who have won awards. Our award-winning pieces are showing throughout the month.
Visit our gallery website to learn more. If you would like to participate in the Art of Eights Project, we welcome you! The application fee includes the canvas, which we provide. We do not take a commission if the piece sells, and so it is a wonderful way for artists of any caliber to earn exposure.
Learn more at our website: http://artandantiquestudio.com

Miniature Painting of Ocean

2010-08-06T09:26:00.004-04:00

This is a miniature painting, 4 x 6 inches, framed, that sold recently. I will be posting several of these on my etsy site soon. They are so much fun to paint and it's interesting to see what you can create on such a small surface. The frame is 4x6, so the painting is even smaller!
Enjoy.

Featured in Etsy Treasury

2010-07-30T07:22:00.005-04:00

One of my prints has been featured in an Etsy Online Treasury! The treasury is called "The comfort of a cup of tea". The print is called "Garden Teapots".

Classes are starting up soon. If you are local and would like to learn more about my classes and workshops please visit my website:
http://watercolorworksart.com/Classes

Thanks for visiting!

Graded Wash in Watercolor

2010-07-27T15:58:00.004-04:00

I have just uploaded another tidbit of a lesson from my Beginner's Watercolor Workshop DVD. Visit the link below to learn how to create a graded wash.

Sometimes watercolor has a mind of its own, but when you learn what the medium can do it makes it much more fun to experiment with. The graded wash is an application of watercolor pigment on paper which goes from a dark value to a light value (or the opposite). If the wash is not applied correctly you will develop streaks, brush marks and/or blooms. Once you master the four basic washes, you can manipulate them a little better to create the looks you desire in your paintings.
Enjoy!
http://www.youtube.com/watch?v=ZjSnNeOtiwk

Coconut Jewels

2010-07-21T11:22:00.005-04:00

I'm still experimenting with my pouring/dumping technique. This is the latest piece, called "Coconut Jewels". It is 20 x 28 inches and is now framed in a 26 x 32 inch gold, metal frame. You can see this piece at the Art and Antique Studio. If you are interested in purchasing any of my work please email me and I'll post the item on my etsy shop for you.
Thanks for visiting. I love hearing from you!

debbie@watercolorworksart.com

Palm Tree Completed

2010-07-05T09:00:00.002-04:00

Ah! The final piece. Let me introduce you to "Palm Splash!" I hope you enjoyed sharing in the process of this painting. I hope to be adding more soon!

If you are interested in my classes please visit my website:
http:watercolorworksart.com/Classes

Happy Independence Day!

2010-07-04T19:54:00.003-04:00

Happy 4th of July - Independence Day - to all Americans wherever you may be. Let's celebrate our freedoms and pray that we may keep them!

Hope you are able to enjoy family, picnics, sunshine and lots of joy!

Palm Tree Wet In Wet Technique Final Steps

2010-07-03T09:00:00.001-04:00

I have studied this painting and decided to add some glazes of color to certain areas. I used New Gamboge, very wet, to glaze some of the palm fronds that needed to be warmed up. I used Pthalo Blue and Winsor Blue to glaze some areas that needed to be cooled and/or darkened in value.

I have to step back often so that I don't overwork the piece. Sometimes I turn it upside down and step back to look at it. This gives me a fresh perspective and I can judge color, value and shapes much more objectively.

Once these final touch-ups are complete I can remove the painting from the board, sign it, and get it matted and framed!

Palm Tree Wet In Wet Technique Remove Masking

2010-07-02T09:00:00.001-04:00

Now it's time to remove the masking that has been applied in stages throughout this painting. I use a tool called a Masking Fluid Pick Up. Most art supply stores should carry them. They can cleanly lift your dried masking and will keep the paper from being touched too much. Erasers tend to leave marks, so don't use them.

Once you get an edge up, you can grasp it with your fingers and gently, slowly pull the masking fluid up from the paper. Take your time. If you pull too quickly you may tear the paper and all of your hard work will be ruined.

Now all of the masking is removed. If you would like to soften some of the crisp edges left you can wet the paper with clean water and a soft two-inch brush. Avoid over brushing as this will lift a lot of pigment and make your painting look "washed out".

At this stage you can really see the beautiful blending of the colors and you can study and decide which areas may need small repairs. You may need to lift a little here and there, and you may need to add more color to other areas.

Final repairs next...

Palm Tree Wet In Wet Technique Almost Done

2010-07-01T09:00:00.001-04:00

The wash is completed and now it is time to evaluate whether I need another wash or if I am ready to remove the masking fluid and see what kind of magic has happened!

I believe the values are dark enough so it's time to move on. The painting must dry completely before I remove the masking.

Palm Tree Wet In Wet Technique

2010-06-30T09:00:00.001-04:00

The masking has dried and here I am applying another wash. First I wet the paper with clean water. It's important to allow the water to soak in a little. This helps the pigments to flow nicely yet stay close to where you want them. I use three primary colors for the most part - blue, red, yellow.

When I apply the colors I just drop them into the areas where they would seem most appropriate. I don't brush them into each other, but lay them next to each other instead. Then I tip the paper to allow the colors to flow and blend.

When you work wet-in-wet, remember that you can apply the colors quite a bit more dark than you think. Because the paper is already diluted, the colors will dry quite a bit lighter than they appear when they are applied. Experimenting with this helps.

More to come soon...

Palm Tree Wet In Wet Technique

2010-06-29T09:00:00.000-04:00

I have applied another wash. After this dries I will add more masking to save the next level of values! Lots of work, lots of patience, lots of results!!!

You can follow me on Facebook!
To learn more about my classes visit my website:
http://watercolorworksart.com/Classes.htm

Palm Tree Wet In Wet Technique

2010-06-28T09:55:00.004-04:00

After the first wash dries completely - what I call "bone dry", I then mask the next light values to save. Here you can see the masking. It's okay to use masking tape, or frisket film, but I find that they leave funny edges when the masking is removed, so I stick with brushing on the masking fluid.
So the first masking was to save the absolute whites of the paper. This masking application is to save the value 2 areas. I use a value chart from one to six, one being white and six being black. Each number represents a paint application. So, each stage of the painting is masked to save the next layer of color and value.

First Mask and Wash on Palm

2010-06-21T15:00:00.000-04:00

The first thing I did was to apply masking fluid to the absolute whites that I wanted to save. After the masking was completely dry I wet the paper gently with clear water and a 2 inch soft brush. I apply a lot of water so that it puddles on the paper. Then I tip the board back and forth to keep the liquid flowing in all directions so that the paper absorbs the water evenly.

Once the water has soaked into the paper, has lost most of the "puddle" and simply looks shiny, I add the three primary colors. I don't blend them with my brush, I simply drop then onto areas of the paper, tipping the board, allowing gravity and the wetness of the paper and pigments to softly blend the edges. I want to keep this relatively light as these colors will represent the second lightest values in my painting. They will also act as underpainting for the next few washes. This will dry quite a bit lighter than it looks when applied.

Now this has to dry completely - bone dry - before I can work on it again.
More to come....

Slowly But Surely...watercolor...

2010-06-21T08:29:00.005-04:00

Slowly but surely I will get this posted.

Because I am using a very wet technique for this painting, and I will be using many layers of wet, blended colors, I don't have to worry about the graphite on my paper. Here I have penciled in lightly, with a number two drawing pencil, the darkest values of my painting. As I add the wet colors the pencil lines will lift and lighten. I don't want to lose my value pattern, so I add the darkest as they will be the last to be added in. If I were using a direct painting method I would be much more careful about the pencil marks. Even with this method, though, I don't want to press hard with the pencil. That would leave impressions on the paper that would cause the pigment to sink in, leaving unsightly marks.
More to come...

Palm Tree Wet In Wet Technique

2010-06-12T21:24:00.005-04:00

Okay, I finally have a few progress photos of the palm tree to show you. You can see my sketch book on the right, my reference photo at the top, my masking fluid on the top right, and a small pencil. At this point I have created a drawing in my sketchbook. I then trace the loose sketch create a value study in only three or four values. I do this with a set of black and gray markers. I use the white of the paper to indicate the lightest values.

This value study will help me to determine where to mask areas before color is added.

These preparatory steps take some time, but the extra time is worth it with the beautiful end results that I can achieve!

Once I have these steps completed I enlarge the value study and use graphite to trace it onto my full sheet of watercolor paper.

Because I will be painting very wet, I use two inch masking tape to secure my paper to a foam core board. This will help to keep it relatively flat while painting and it will pull it flat again as it dries.

More to come soon on this painting...

New Beginnings

2010-05-28T08:18:00.005-04:00

Probably every artist in Florida has painted a palm tree, so I am taking on the challenge yet again. This is a recent drawing I worked on for a painting I have in mind. I plan to use the wet-in-wet technique that I have been employing lately. I thoroughly enjoyed drawing this one. Once drawn, as show, I trace the image outlines, and then scrub in three or four different values from black to white to plan out the applications of paint. More to come on this one....

To see more of my artwork, please visit my website: http://watercolorworksart.com
You can also find me on Facebook: www.facebook.com/DebbieJohnsonWatercolor

Advanced Student Painting of Pineapple House

2010-05-18T14:06:00.004-04:00

Mike Brothers is one of my advanced students. He recently painted this piece of a local bed and breakfast called The Pineapple House. The house is just around the corner from our gallery and teaching studio.
Mike used a wet-in-wet wash for the initial underpainting on this piece. Then he worked in the details. The wet wash makes the light on the building glow like early morning sunlight!
Great job, Mike!

Come Sit a Spell

2010-05-03T13:07:00.007-04:00

Come Sit a Spell...This is a little scene that I stumbled upon in Cocoa Village, Florida. I absolutely loved the pink chairs and it seemed the perfect subject for my new explorations in watercolor technique. I am still playing with a wet-in-wet glazing technique and having a blast! This is definitely a happy painting!!!

With my exploring, I haven't been working on blog lessons as diligently, and I apologize to those of you who like to follow along. I will try to pull some lessons together soon and post them. Let me know if you prefer the lessons or just keeping up with news and images of my current work.

If you are in the Melbourne, Florida area, please look me up. I am a member of the Art and Antique Studio Gallery in the Eau Gallie Arts District (EGAD). Our address is 1419 Highland Ave., Melbourne, Florida. If you visit our website you can see more of my work, our class schedule and information on the featured artist for this month! Hope you can visit us soon. Art and Antique Studio Link.

If you would like more specific information on my classes please visit my personal website. Classes begin again in late May. Click here for class information.

Student's Work of Hibiscus Flowers

2010-04-21T14:00:00.004-04:00

Classes are still happening for the spring and summer here in sunny Florida. We have adjusted to the new studio and are enjoying the space, the light, the flowers in the courtyard and all of the new projects to explore!

Jean, one of my students, has been working hard in class and at home on many projects. Here are two hibiscus flowers she recently painted.

New classes are starting in May. If you are interested in my classes, please check out my website: http://watercolorworksart.com/Classes.htm

Palm Trees Wet in Wet in Watercolor

2010-04-12T20:44:00.003-04:00

"Three Palms" is another new piece that I just finished last week. It is 23 x 30 inches and is painted wet in wet with layers of masking to create the details. I am exploring some new thing in my paintings and I like the direction things are going so far. I still have some kinks to work out in my methods before I share the techniques.

I will be in Vero Beach, Florida this Saturday for the Hibiscus Festival in the park downtown. Please stop by and see me if you are in the area. You will be able to see my new pieces up-close and personal.

Thanks so much for visiting.

A recent painting - Moses in the sink

2010-04-08T09:34:00.004-04:00

It's been a while since I posted. I have to admit I have been very busy preparing for an upcoming show, The Hibiscus Festival, in Vero Beach, on April 17th.

Here is one of my latest works. I have been experimenting with a new method using lots of masking layers and glazing very wet layers of paint with wet-in-wet applications. I am having lots of fun, and learning a lot! This is Moses, one of my daughter's cats. His name is so appropriate! He loves the water. I painted him with much more gold/warm colors than he is in real life, but I wanted the warmth and yellow tones to compliment the blues and purples in the tile, wall and sink. I am working on a few more paintings using this technique and I will try to post them soon!

Thanks for visiting.

One Painting Becomes Two

2010-03-08T17:32:00.000-05:00

It never ceases to amaze me how many problems need to be solved as I work on a painting. These pieces were originally one large painting that I had hurried to prepare for a demonstration piece. I worked on it long after the demonstration and really struggled with the composition - from lack of planning!!!

I talked with a couple of artist friends and they made several great suggestions, one of which was to make two smaller pieces from the larger one.

I used some mat corners to play with various cropping options and this was the result. The image with three pelicans is called "Chuck, Zack and Mack" and the painting with two pelicans
is called, "Dick and Jack".

I'll be adding these to my etsy shop soon!

Award from Splash Show 2010

2010-02-22T16:53:00.000-05:00

This past weekend was the Brevard Watercolor Society's annual Splash Watercolor Show. I was the recipient of a Merit Award from the show. What an honor to be among the award winners of such a wonderful show! There is an incredible amount of talent in this community and it's such a treat to see all of the paintings.
This painting is titled Lunch Line.
You can see more about the show at several online sites:
brevardartnews.com

http://www.brevardwatercolors.org/

Facebook.com/artandantiquestudio

Thanks to all of my students who came to watch me demonstrating both Saturday and Sunday!

My Silver and Cherries in Watercolor

2010-02-15T20:32:00.000-05:00

This is a piece I recently painted with my Level Two watercolor students. It was a challenging and fun piece. I hope to put it on the blog as a lesson very soon!

I have a new six week series of classes beginning tomorrow. Can't wait to see everyone and begin the next adventure in watercolor!!!

This piece is for sale. Feel free to email me if you are interested. There is more work at my etsy shop (left column) and on my website:
http://watercolorworksart.com

Student Still Life

2010-02-11T15:14:00.000-05:00

My Tuesday morning class recently painted a still life of a pepper and tomatoes. They first painted it using a mixture of two colors to create a monochromatic scene. Then they painted a second piece using color.

This is Jackie's monochromatic piece. She did a beautiful job!

Here is a closer view of her piece. Great job, Jackie!

You can learn more about my classes by visiting my website:
http://watercolorworksart.com/Classes.htm

Barbara's Painting

2010-01-29T08:46:00.000-05:00

My intermediate class just finished a still life painting of a silver tea pot with a glass bowl of cherries. This is Barbara and her finished piece. This is special because Barbara actually polished the silver piece for me that we used as the reference for this painting. Great job on your painting, Barbara! And thanks so much for making the silver look like new!!!

More classes are beginning in February. You can visit my website to see the list, register and view the supplies list.

We have been working hard to get our new teaching studio ready and so I haven't had a lot of time to work on lessons for this blog. I have been taking progress photos of some pieces we've been working on in class, so I hope to have some new lessons up soon. Stay tuned! Thanks for visiting.

You can see pictures of the new studio by visiting our Art and Antiques Studio Facebook page. The teaching studio is called Courtyard Studio, but we are affiliated with the Art and Antiques Studio and Gallery next door. Visit our Facebook Page and become a FAN!

Morning Glories by my Students

2010-01-27T19:57:00.000-05:00

This photo shows the wonderful Morning Glories that my Level One students painted recently. I think they did a great job!!!

They are learning how to work with their water to pigment ratio and how to control soft and crisp edges in watercolor. It is fun to build the illusion of three dimensional shapes with varying edges and values.
New classes are starting up in February in both watercolor and drawing. You can visit my website to learn more: http://watercolorworksart.com/Classes.htm.

Indiatlantic Art Festival

2010-01-18T11:00:00.000-05:00

My husband, Ken, and I participated in the Indiatlantic Art Festival this past weekend. Saturday was chilly and Sunday was windy, but we had a wonderful time!

We talked with lots of people about watercolor painting, upcoming classes and I worked on two paintings during the show.

Here you can see the Coconuts painting I was working on during the show on Saturday and early Sunday morning.

Below are just a few guests looking at the artwork I had on display in the booth.

New classes are starting up in February, and I have a Beginner's Watercolor Workshop on Saturday January 30th. Please visit my website for more details and registration options.

Watercolor Works by Debbie Johnson - Website

Painting Pets with My Students

2010-01-14T09:05:00.000-05:00

December was a fun time in my Level Two watercolor class! Everyone wanted to paint their pets, so we embarked (no pun intented!!!) on a little adventure to paint pets. Each student owns a different breed, so we worked on the many ways to create smooth, curly and fluffy fur.

This piece is one I did of Daisy and Jill, as a demonstration piece for the class. I hope I captured their personalities!

I have some new watercolor classes starting up in February and I will also be doing a Thursday morning drawing class. If you are in the Melbourne, Florida area and are interested, please visit my website for more details.

http://watercolorworksart.com/Classes

Susanna Spann and Antique Glass Exhibition

2010-01-07T08:14:00.000-05:00

The Art and Antique Studio and Gallery is featuring "Treasured Memories", the work of award winning artist Susanna Spann along with a gorgeous selection of antique glass from their antique specialist, Debbie McElwain. The opening reception is Friday, January 8, 2010, from 5:30 to 8:30 at the gallery which is located at 1419 Highland Ave., in the Eau Gallie Arts District (EGAD) in Melbourne, Florida.

As a member of this cooperative gallery, I can tell you I have seen the show this week and it is wonderful. The show will be up through the month of January. Don't miss it!

You will also see gallery members work displayed and several consignment artists who produce pottery, jewelry, hand-carved gourds, art quilts and more.

You can find us on Facebook and become a Fan.

Cactus Flower Lesson 14

2010-01-04T10:00:00.007-05:00

Ta-da! The final piece. I used another glaze of Prussian on the shadow at lower left just to help make the warm flower pop.

You can paint along with this lesson! Many of my students like to print the daily lessons, then go to my etsy shop and click on the Online Lesson icon to order the photo references and drawing ($5), which come in an email and can be printed from your computer.

If you enjoyed this lesson, please let me know. I will try to post another lesson soon.

If you are interested in purchasing this piece, please email me at: debbie@watercolorworksart.com

Cactus Flower Lesson 13

2010-01-03T10:00:00.004-05:00

Almost done with this painting.

I have worked glazes around the painting in blues (French Ultramarine Blue and Prussian Blue) and some glazes with Burnt Sienna, others with Hooker's Green and Sap Green. Whenever I add a glaze I tend not to cover the entire area. Instead I cover part of the area then soften the edge with water so that each glaze adds a unique depth to the painting. I added some New Gamboge to the top left green area to lighten it, warm it up and bring it forward more from the shadows.

I have used a Fritch Scrubber brush to gently soften some edges that are not in the focal point area and on the shadow edges of the leaves. To further develop the cactus flower heads I used Perylene Maroon in the deepest shadow areas under the flower heads. I think this piece is really taking shape!

Cactus Flower Lesson 12

2009-12-30T10:00:00.003-05:00

Oh what fun! Developing the red flower heads was lots of fun. I love how the greens and red act against each other and really make the focal point pop. The dark values in the shadow areas help to create the illusion of depth.

I used many different reds on my palette to work around the flower heads including, Burnt Sienna, Perylene Maroon, Permanent Rose, and some Quinicridone colors. I wanted to keep the yellows glowing through some areas, so I was careful not to cover them with too many glazes or with cool glazes.

I used some Burnt Sienna and VanDyke Brown in the shadow areas around the thorns. Be sure to leave the white areas wherever you can! This just adds sparkle to the piece.

Cactus Flower Lesson 11

2009-12-29T10:00:00.002-05:00

The shadows are even deeper now, as I have added another glaze of Perylene Green, mostly on the right and under the flower heads.

The dark shadow works like an arrow to carry the viewer's eye to the focal point.

I played with different applications of colors to create some textures in the warm shadow area to the left and under the flower heads. I am enjoying the shapes that are emerging from this piece!

Cactus Flower Lesson 10

2009-12-28T10:00:00.003-05:00

Back to the Cactus Flower lesson!!!

Now it's time to add some depth and details.

Using Hookers Green I have glazed over some of the other greens, especially where I added shadow glazes previously. I glazed this green over the parts of the leaves where the cool Cerulean Blue was applied earlier. Now the yellow greens in the sunlit areas begin to contrast more with the cool blue-greens of the other areas. Look at your photo reference carefully and you will see that none of the green areas can be painted exactly alike because the light hits each leaf differently and each leaf has a small shift in color from the others.

I have also used VanDyke Brown in a richer mixture than before and developed some details in the lower left area of the painting. This area in the reference had some woody growth, and I wanted to capture a bit of that. I also liked how it warmed up that corner of the painting.

I have worked around the painting adding small touches and glazes for depth and interest.

To see more of this lesson, please visit earlier posts.

Merry Christmas!

2009-12-24T17:00:00.005-05:00

Merry Christmas to all! From Ken and Debbie!

Happy New Year, too.

Cactus Flower Lesson 9

2009-12-23T10:00:00.004-05:00

Today I am going back to the flower heads for a bit.

I have added Permanent Alizarin Crimson to the shadow areas of the flower heads. I worked patiently all around the flower heads, softening some edges and leaving the crisp lines at the darkest edges of the shadow shapes. Try experimenting with different reds on your palette. Some reds are cool in temperature, like Alizarin Crimson. This pigment has a hint of blue or purple and it works really well in shadow areas of red objects. Other reds like Winsor Red are more warm in temperature an have a yellow-orange cast to them. The are more appropriately used in areas where the sun or light is shining on an object.

Next, I have used Prussian Blue (very wet) in some more shadow areas. This is a very strong color and should not be used too heavily. It will deaden your painting if it is overused. I like to try to keep my glazes transparent, even when developing strong, dark values.

Cactus Flower Lesson 8

2009-12-22T10:00:00.003-05:00

Now that I have my shadows developing nicely, I want to give them another glaze of a nice dark Perylene Green.

This is a gorgeous color that looks like a pine green to me. It has a bit of warmth to it, and it glazes nicely.

Now the shadow areas really have some punch. Notice the soft edges where the cactus leaves have soft, flowing nooks and crannies. I have applied the Softened Edge Stroke to the areas where there is a clear edge and to the edges of cast shadows. If you hold it away from you, you will begin to see the illusion of depth and perspective! This also makes the flower heads really POP!

It is really important to step away from your work occasionally and get a fresh perspective. I like to take the piece and stand in front of a mirror, or set it up in a different room where I can get about 10 - 15 feet away from it. Sometimes I turn the piece upside down to get a fresh look at the composition and to see more objectively how the piece is coming together!

Cactus Flower Lesson 7

2009-12-21T10:00:00.003-05:00

To develop the shadows even further, I have used a very wet puddle of VanDyke Brown and applied it to a few areas where I want darker or more striking shadows.

One theory I like to use for shadows is that if I glaze a relative opposite of the local color, the colors will visually blend (not physically blend) to create a darker value. For instance, if I want the dark green shadows to be very dark in value, just adding green will only make the paint thicker, it won't add to the darkness of the value. By adding a relative opposite, like a red or warm brown, I can add to the value, then glaze over it with the local color (green in this case) and the green becomes what the viewer sees, but the warm tones add darkness to the value. Hope this makes sense.

Think of it this way: relative opposites on the color wheel, like red and green, when physically mixed will make a neutral, dark gray. If I glaze these colors they will still VISUALLY make a dark, more neutral color, but they will retain some of their more pure color characteristics. Try it on some scrap watercolor paper. Glaze a red, allow it to dry, then glaze a green. The green will still look green, only darker!

Cactus Flower Lesson 6

2009-12-20T10:00:00.004-05:00

Be sure that all previous applications of paint have thoroughly dried.

Next, I have used Burnt Sienna to warm some areas an add the under-painting for some of my shadows. This application of paint should be very wet. Don't brush too much over previously painted areas or you will dig up and stir up the pigment layers. Try to apply the wet paint for each layer or glaze with a very light touch, and quickly drop it in. Your brush should just push the puddles of wet paint around. It should barely even touch the paper, if at all. Using a delicate touch will preserve the previous glazes of color and each glaze will stay fresh and clean.

You can view previous posts to see the beginning of this lesson. Just click on the archives at the left of this page.

Cactus Flower Lesson 5

2009-12-19T10:00:00.005-05:00

I want to get some more of the flower heads established in this piece, since the flowers are my focal point. I have used Winsor Red and Quinicridone Magenta to develop some of these areas. Just as I described yesterday, vary your edges from crisp to soft. Soft transitions are made with water pushed into the stroke before it dries. Crisp edges are made by directly applying pigment to the dry paper and leaving it alone.

Let your photo reference be your guide. Look for crisp edges that can be painted directly, and then look for areas which would be appropriate for that Softened Edge Stroke (see previous post).

I have also added some more Permanent Sap Green and Hookers Green to areas of the plant that have not yet been developed. In the area on the right of my image I used a little wet-in-wet technique by laying in a wet wash of Sap Green, then dropping in Hookers Green where I wanted to add soft shadows.

Cactus Flower Lesson 4

2009-12-18T10:00:00.003-05:00

Today I am adding some yellows.

I have used Aureolin Yellow to begin to develop the areas in the flower heads that will become yellow-orange. Be careful where you apply colors - they should not go EVERYWHERE! Soften some edges by pulling water into the stroke. I call this my Softened Edge Stroke.

First lay down a stroke of color, very wet, yet strong with pigment. Then, clean your brush and load it with water. Just touch the tip of your brush to your paper towel to remove excess water that may drip. Pull a stroke of water from the blank area into and alongside the stroke you just applied. It is important to do this BEFORE the stroke dries. Pulling water into the stroke will push the pigment into the area that already has color. If you pull the water from the stroke out to the blank area, the stroke will just be diluted and the pigment will wash out to the blank area. The goal is to create a very soft transition from dark color to nothing (clear water).

This takes practice. Be easy on yourself and remember that it is just a piece of paper! With practice you will master the many different techniques!

Cactus Flower Lesson 3

2009-12-17T09:00:00.004-05:00

In the next application of paint I used Cerulean Blue (Peacock Blue by Holbein would also be great here!).

Keep this really wet as Cerulean Blue is a very opaque color. I searched the photo reference for areas that might have a light blue cast to them. This application is an underpainting for future glazes. I have varied the values to show the textures of the plant. Wetting some areas or working with pigment that has more water creates lighter values.

Cactus Flower Lesson 2

2009-12-16T09:00:00.009-05:00

It is time for the first big wash! I used a very wet mixture of Permanent Sap Green and Aureolin Yellow.

You can see how wet the application was by the little puddle of paint at the bottom of the wash area. I used this mixture around the painting to work in the preliminary green washes on the cactus leaves.

You can vary the mixture here and there as the photo reference and your preferences dictate. I used some Hookers Green in some areas where I wanted to indicate shadows.

If you would like to paint along, please visit my etsy online shop and click on the Online Class icon. For $5.00 you will receive the photo reference and drawing for this painting. I will suggest that you print each lesson/post. This makes it easier to paint along!

Cactus Flower Lesson 1

2009-12-15T15:46:00.002-05:00

Okay, I must apologize for those of you who have been waiting patiently for a new lesson! It has been very busy with the holidays, guests, events at the Art and Antiques Studio and preparing for new classes coming in January. No more excuses! Here is the beginning of the new lesson!

You can follow along with this lesson each day, and if you like, you can visit my etsy shop and purchase ($5) the drawing and reference photo. I will email the references to you and then you can paint along!

First of all, the drawing must be traced onto the watercolor paper. I like to use a Chunky Graphite Stick from Cheapjoes.com. I scrub a healthy amount of graphite on the back of my drawing, wipe it a little with paper toweling, and then tape one edge of the drawing to my watercolor paper. Trace from the right side of the drawing. Don't press hard or you will leave indentations on your paper and the pigments will puddle into these grooves and cause unsightly marks.

Now, tape your watercolor paper onto a foam core board or gator board that is at least an inch or two larger all the way around. I like to use two-inch Scotch masking tape that is beige. The wide tape allows for good coverage both on the paper (at least one-half inch of tape should cover the edges of your paper) and on the board. Good taping will result in a nice, finished painting that dry very flat. The taped edge also provides a nice gripping area when working with large wet washes.

Teaching Watercolor at the Melbourne Square Mall

2009-12-09T08:01:00.000-05:00

Last week I volunteered to teach seniors a little bit about watercolor painting at the Melbourne Square Mall. As a member of the Art and Antique Studio and Fine Art Gallery, I volunteer here and there to give demonstrations and mini workshops. Once a month the mall holds a Seniors Day and provides bingo, health screenings, informational booths about local services, and little art and craft workshops.

I brought in small 5 x 7 inch watercolor pages and some little palettes and brushes. I also brought in a small sailboat photo reference and a little drawing that they could transfer. It took about an hour for each session. I showed them how to transfer the drawing to the paper and how to apply washes to the sky and boat. Each participant took home a little painting. It was a lot of fun! I will be doing this again in February, but we will be painting a small rose, since it will be just before Valentine's Day.

For more information about my ongoing watercolor classes click here to visit my website. Classes begin in January!

Preparing a Thumbnail Sketch

2009-12-08T07:46:00.000-05:00

Successful watercolor painting takes planning. Even the most impatient painter should take the time to plan by doing a thumbnail sketch. These quick, scribbly-looking, small sketches take only a few minutes and can save lots of grief later on when the painting is in progress! Much of your composition and value decisions can be finalized by developing a few little thumbnails. Working through your thumbnail sketching process will help you to see things that you might not see until later in the painting process, when it is too late to correct it. So, how do you begin?

First think about what view of your subject you want to portray. Do you want a close up view? A traditional view with a horizon line just above or just below the center point? Do you want to show only part of the image or do you want lots of “background” around the object? Try several quick little sketches to see what might please your eye.
Next decide if you want to paint your subject in a horizontal or vertical format. You may do a quick, scribbly sketch to see what might look nicer. Or, you can simply draw a vertical, horizontal, or square quadrangle around your image area.

Remember to use your viewfinder (a small piece of card stock with a rectangle cut from the center) to help you decide and isolate the objects that appeal to you.

Once you have a very simple line sketch of your layout or composition, check it by using the 3/4 Rule. Draw two vertical lines and two horizontal lines equidistant in the image area. Your focal point, or point of interest should not fall exactly in the middle of the picture plane, but should rest near one of the points where the lines intersect.

Then, start working in values. You can use your value chart and actually number the areas one through six, or just use your pencil to scrub in the darker values.

A Value Chart is a simple set of squares painted with pigment that ranges from dark to white. I make one that is about 3 by 10 inches with six equal squares in a row. I first paint the number 6 square with the darkest mixture of French Ultramarine Blue and Burnt Sienna that I can make, and keep it transparent. Then I add water and continue to paint each square lighter than the previous one, leaving the number 1 square white. After this dries, I punch a small hole in the center of each square. This is a great measuring guide for values.

Classes will begin again in January. Check out my website for more details: http://watercolorworksart.com/Classes

Inspiring Scenery

2009-12-02T08:32:00.000-05:00

Just another inspiring scene from Melbourne, Florida! This is another painting from my miniature series. Since we go to the beach a lot, I have decided to study the motion of the water. I am trying to capture it in small sketches. As the waves bump into the shore you can usually see right through them!

The skies here in Florida are always beautiful, too. I love how the clouds seem to hang onto the horizon line!

This little piece fit into a 4 by 6 inch frame! What fun.

Hope you had a wonderful Thanksgiving.

Long Time - No See!

2009-11-23T12:06:00.000-05:00

So sorry I haven't written in awhile! I have been really busy preparing for the Artworks of Eau Gallie show, that happened this past weekend. What a great time we had! There are so many amazingly talented people in this area it just blows me away! I feel so privileged to be a part of the show. You can see more photos of the show and see the list of award winners at: http://www.brevardartnews.com

At left is a miniature painting I just created last week for part of my new miniature series. It is framed in gold and measures (with frame) 6 x 8 inches.

For those of you who are just coming back to Florida from the cold north, classes will resume in January. You can see a brief schedule on my website. http://watercolorworksart.com/Classes

I do have a workshop coming up:
Beginner’s Watercolor Workshop
Saturday, December 12, 2009
From 9 AM – 3:30 PM
At Art & Antiques Studio & Fine Art Gallery
1419 Highland Ave., Eau Gallie Arts District (EGAD) - Across the street from Ralph’s Art Supply
$65.00 – bring a lunch.

This workshop is for those who are new to watercolor. We will set up our palettes together, discuss tools and materials, learn the basic washes and brush strokes, and practice together each step of the way.
In the afternoon, we will practice techniques taught in the morning session, and create a small painting together. Students will develop a a better understanding of the exciting medium of watercolor.

Art supply list on Debbie’s website:
http://watercolorworksart.com/Classes
Pre-registration and payment is required to hold your spot.
Space is limited, so register online or print registration form from website and mail to Debbie.
This would make a great gift for someone who would like to get started in watercolor!

I will be adding a new Blog Lesson just after Thanksgiving. Hope you have a great holiday!
Debbie

Student's Work of Koi Fish

2009-11-07T09:09:00.000-05:00

October has been a crazy-busy time for me, so I haven't posted as much as I wanted to, but I felt this was something nice to share.

Mike is one of my winter students. He brought this painting in, which he has worked on in his spare time, so that the class could see it. I thought it was such a nice piece I wanted to share it with you!

Great job, Mike!

Candy Dish Lesson 13

2009-10-30T09:00:00.006-04:00

Ta Da!!! The finished piece. I am craving chocolate... I'm glad it is almost time for those little trick-or-treaters to visit my house. I may munch on some candy, too!

If you would like to order the reference photo and drawing for this lesson, please visit my etsy online store and click on the Online Class icon. Let me know which lesson you would like. Thanks for visiting.

To learn more about my classes and artwork, please visit my website: http://watercolorworksart.com

Candy Dish Lesson 12

2009-10-29T09:00:00.001-04:00

The remainder of work on this piece is just to refine the details in the candy dish, continue with various glazes of wet, transparent colors on the candies and to lift and soften areas that need either lighter values or softer edges.

I used a number six round Silver Black Velvet brush (cheapjoes.com) for the detail areas. I used the colors from the candies and shadows to pull this together. I kept a close eye on the reference photo to indicate where the details were necessary - if they aren't necessary don't put them in!!!

Candy Dish Lesson 11

2009-10-28T09:00:00.001-04:00

It is time to remove the masking that was applied at the beginning of this project. I like to use a rubber cement pickup. You can purchase these at any art supply store and also at Cheapjoes.com. They work great! You can really scrub this tool over your paper to pick up every last bit of masking without worrying about damaging your paper. If the edges of this tool get black and crumbly in appearance, simply use a scissors or razor knife to scrape down to a clean edge.
Now that the masking is off you will see the sparkling white of the paper. I chose to soften some of these areas using a number 4 Fritch Scrubber brush. This is a small, stiff-bristled brush that I dip into clean water and gently brush over the edges of the masked areas. Then I quickly press the area with a paper towel to lift the moisture and scrubbed pigment. Be frugal, don't over-do this technique or you will loose your whites. The direction of the scrubbing motion will determine how the lifting looks, so be conscientious about the direction you push and pull the brush. Use your photo reference as a guide for where to lift and soften. One thing to note, this DOES chop up the paper somewhat, so only do this in areas where you do not plan to add any more color!!!

Candy Dish Lesson 10

2009-10-27T09:00:00.003-04:00

Today I wanted to paint the chocolate-coated candy. In my painting there is only one! I used Burnt Sienna as an underglaze, then I used VanDyke Brown to glaze over that to create more of a chocolate color and some of the deeper shadows. French Ultramarine Blue was used for the deeper shadows in this candy - but each color was applied after the other glazes had dried.

I also used French Ultramarine Blue and some of the other, previously used colors, to develop the shadow areas around the candies that are in the dish. Be sure to check your photo reference to capture the value, shape and color scheme of each of these little shadow areas. This is a good time to correct some of the candy shapes if they are not quite perfect!

Candy Dish Lesson 9

2009-10-26T15:08:00.000-04:00

Okay! Now it's time to dress up the table a little. First, I used a one-inch flat brush with very soft bristles. I loaded it with clean water and gently pulled a puddle of water over the entire table, including the areas of shadow under the dish painted earlier. The only things I left untouched with water were the actual dish, and the candies both in the dish and on the table.

(Special thanks to Anna, one of my students, for shooting these pictures for me!)

It is extremely important not to put pressure on the brush - use a VERY LIGHT TOUCH!!! The brush should basically just push the water around, not really even touch the paper. The less you can stroke the less wash-out or heavy bleeding of pigments you will have.

If you used very thick, heavy pigments for your shadow areas it will lift a lot. You will notice that lots of color flows into the water. All I can say is that this is a good lesson to keep your pigment applications thin, transparent and use lots of water with each glaze!

Now that the table is covered with a generous amount of water, you should see a shine to it. Some areas may still have measurable puddles. Gently tip your board to be sure the water is absorbing evenly into the paper. While it is still shiny, apply small amounts of French Ultramarine Blue and Permanent Alizarin Crimson by dripping it into the wetted areas. Put your brush down and tip the board to create soft areas of slightly blended color.

Notice that I have added some Winsor Red to the red candies. Use any of the bright, warm reds on your palette for the candy glaze. I have also deepened the yellows with a glaze of New Gamboge and a little Quinicridone Gold.

Candy Dish Lesson 8

2009-10-22T11:00:00.007-04:00

Here I have glazed the blue candies with a light, wet wash of French Ultramarine Blue to intensify the color!

Things are starting to take shape!

If you would like to paint along with this blog lesson, let me know. To receive an email with the pdf file of the photo reference and drawing for this painting, simply visit my etsy online shop and pay the $5.00 fee and I will send the references to you. Many people like to print off the daily lessons, then paint the project from those sheets.

More to come soon on this lesson. Thanks so much for visiting. I love to hear your comments!

Candy Dish Lesson 7

2009-10-22T09:00:00.003-04:00

Time to paint the shadows of the green candies. Again, working with the theory of relative opposites on your palette, look at a color wheel, and see which color on your palette might work as a nice, transparent opposite for the green candies.

I chose Permanent Alizarin Crimson, since it is already a color I am using in this painting, it will keep the look "cohesive". Using the same technique from the previous two days, I painted the shadows of the green candies with the red under-painting. Look for areas where a crisp edge is appropriate and where you may need to soften an edge with a clean, damp brush. Be sure that your shadow areas make sense with the direction of your light source. This will not only make your painting look dimensional, but it will make it look believable! Allow to dry, then glaze each of these candies with Permanent Sap Green. Be sure to keep the glaze wet, transparent and don't over-brush!

Candy Dish Lesson 6

2009-10-21T09:00:00.005-04:00

Using the same technique as yesterday, I am painting the shadows for the "Yellow" candies. Because I don't want the candies to turn strange colors, I am glazing the yellow candy shadows with a bit of Burnt Sienna. I am again trying to pay attention to the crisp and soft edges, wetting the edges where I don't want crisp lines. If you would like a more dramatic effect, use a mixture of French Ultramarine Blue and Permanent Alizarin Crimson, very wet, to make a light purple color for the shadows of the yellow candies. Allow these painted shadow areas to dry.

After the shadows are dry, apply a nice, bright, wet glaze of Aureolin Yellow. Cover the shadow areas and the entire yellow candy. If you like, you can drop in a little New Gamboge here and there with a wet-in-wet technique.

Candy Dish Lesson 4

2009-10-20T13:57:00.000-04:00

Today I want to begin working on the sparkling colors in the glass candy dish. I will be using the same colors that I used previously: French Ultramarine Blue, Permanent Alizarin Crimson, Winsor Red, and New Gamboge. Because the colors will be a bit diluted as I work, I want to begin with strong, wet pigments. Stir up some of these colors in the corners of your paint wells and have them ready to go. Pay close attention to the values shown in the reference photo so that you can get them right the first time. With this method I don't want to have to go back and paint another glaze of color if I can prevent it.

Lay some blue in the center of the large, round, glass shapes at the lower edge of the bowl. Quickly rinse your brush and load it with another color. Touch the edges of the blue here and there with this color. Rinse and clean your brush between each area so that you don't contaminate your brush and pull colors into areas where they don't belong. Continue on with adding the other colors, wet into wet, touching just the edges of the wet pigments. Allow them to soften and blend on their own. Avoid brushing, as this will make muddy, fussy-looking color applications.

Candy Dish Lesson 5

2009-10-20T10:30:00.003-04:00

Today I will begin painting the candy-coated peanuts. Yum! As the colors are layered onto these little morsels, they will come to life!!!
First, it is important to understand that if I want to achieve nice dark shadow areas I will have to use relative opposites of colors as underglazes in the shadow areas. Painting a layer of the near-opposite of a color will create a deeper shade of the local color and give the impression of a very dark shadow, and thus provide the illusion of dimension! The relative opposite of the blue in my candy might be Burnt Sienna, so that is what I will use for the shadows in the blue candy. I have decided to change a few of the colors of the candy, to balance things better, so if you do the same, make a mark on your reference photo to help keep things straight.
I am using a coffee-stain of Burnt Sienna to create transparent areas of color where the shadow shapes are. Pay attention to crisp and soft edges. The crisp edges will be painted on the dry paper and left alone. The soft edges will be touched gently with a clean, damp brush. The touching with clean water will soften the edges and make the objects look more dimensional. Allow the Burnt Sienna to dry.
Now use a blue or turquoise color from your palette to glaze over the dried "blue" candies. Paint over the entire candy piece, including the shadow area. Keep this glaze very transparent and wet. Allow this to dry thoroughly.
I have gone back to my shadow colors and used the "charging" technique previously used for the shadow areas to develop the under-parts of the candy dish. Notice the application of paint around and under the candy.

Candy Dish Lesson 3

2009-10-20T09:00:00.002-04:00

Moving to the next shadow area on this painting, we will use the same "charging" technique that we used yesterday, except that the last application will just be water. This time we will work from the bottom edge of the shadow toward the bowl. Turn your paper upside down if that is easier to maneuver with your brush. Again work from the blue (French Ultramarine Blue) to reds (Permanent Alizarin Crimson and Winsor Red) to yellow (New Gamboge), then use clean water and pull the water INTO the pigment. If you pull the pigment INTO the water, you will just keep pulling out the pigment, diluting it and creating a harsh line. If you push water INTO the pigment, you will have a clean transition from white paper to clean color. Allow this to dry.

Candy Dish Lesson 2

2009-10-19T13:54:00.000-04:00

Normally I layer colors, but today I am going to "charge" wet colors into one another. I want these colors to be strong enough that I won't have to add any layers of pigment later, but I want them to be wet enough that they will blend together and be transparent. I have used French Ultramarine Blue in the areas where the strongest shadow is, Permanent Alizarine Crimson, Winsor Red, and New Gamboge for the other colors. Before I begin, I want to be sure my pigments are very wet, and well-mixed, so they are ready to dip into for the process of "charging".

To begin, I dip into the French Ultramarine Blue with a number 10 round brush. I can't emphasize enough the importance of WET pigment. I lay a small path of pigment (not more that a 2-inch length) and quickly clean the brush and dip into the next color. I lay the next color next to the blue, just barely touching the colors so that the blue runs into the next color and softly blends. Continue this process until an area is filled in. Pay attention to the values and shadow shapes so that your areas make sense. Be bold and use strong, wet pigments. Allow this to dry.

Notice in these photos, even though I have already applied the pigments, they are still shiny and wet. If you work wet, the colors will blend much more easily without having to fuss over them with your brush!