Hi all... I'm sending out this reminder to those of you that have committed to come to my place August 12th to execute your Speedy Delivery painting. Here's the latest:
- There are currently 5 painters coming - Cheryl, Ken, Sheila S, Sheila W, Lindsay. This will be a fun group.
- Ken Lampard challenges us to use a minimum 1/4 sheet of watercolor paper... Good Idea!
- Let's keep it simple and loose with smaller brushes. I challenge us to use a minimum of 1" flat and a large (minimin 16) round.
I suggest the following format for the Aug 12 get together:
- Hour 1 - while we have a coffee/tea, each painter will explain to the others what they have for a composition, review value studies, color scheme, painting plan. I think this will help us all by allowing us to learn from the others and possibly change our plans on the fly if we want to incorporate a new idea. By the end of this discussion, we should have figured out our work areas.
- Hour 2 - Paint... One of the problems with this method is that sometimes it's hard to leave a piece alone... we want to continue beyond the "done" stage. I recommend we get partner up so that we can give eachother feedback as we go.
- Hour 3 - discuss how we feel we did, take a group photo with our paintings, and wrap up.
The online instructions gives us most of the information we need to proceed. To give you a better idea of how you need to prepare I have the magazine which has ALL the instructions on how to plan the painting. The following is quoted from the full text of Kathy Collins' challenge in the Watercolor Artist magazine:
"Step One: Choose a composition. The simplest designs, such as a cruciform pattern or layers of color in varying sizes, usually work best for me and help me to connect large, dark shapes.
Step Two: Sketch a value study with a strong white pattern in contrast to the darkest darks (everything else in the painting will be mid-toned). For maximum impact, the value pattern should be simple and apparent to a viewer across the room.
Step Three: Have big brushes at the ready. I prefer flat 1 1/2 or 2 inch synthetics with a sharp edge. A large brush is a key element in single-session painting because it allows you to cover large areas and connect colors and shapes before the paint dries.
Step Four: Decide on either a war or cool color dominance and limit yourself to no more than four or five colors for unity. For example, if you're using a warm palette, you'll want mainly reds and yellows, but you'll need at least on cool color, such as a blue-green, for contrast.
Step Five: With the big decisions made, you're ready to paint. Starting at the top of the paper, brush in midtone colors and progress downward, laying in foliage or abstract shapes for the background. Next transition from mid-darks to the darkest darks, painting negatively around the centre of interest, such as people boats, houses or still life forms. Change colors every inch or so, using thick but fluid paint to enrich the most intense values around the focal point (were the deepest colors meet the white of the paper).
Step Six: It's critical to avoid having too much water on your brush. Keep the colors intermixing by charging in flowing, wet paint next to the still-wet colors already on the paper. The remainder of the work is done in dark to midtones, leaving some pinpoint whites for interest. Soften some edges to smooth the transitions or to achieve the effect of distance.
Step Seven" Finally, if need, push the values around the focal areas to make brilliant whites pop against an almost-black background. The painting is finished in one session."
See you August 12th!
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