Monterey Centre -- Painting Glass Part 3

On this the second to last class before we finish this piece, we are so much closer.  There is still a ways to go.

The image is beginning to have depth.  This is achieved by darkening the values in specific areas. 
Using the primaries, mainly Windsor Red, Quinacradone Gold and French Ultramarine Blue  we layer up each of the areas. 

In the upper left hand corner we used wet in wet technique and applied our USA mixture.  The upper right corner was darkened in the same way, just another layer over the previously painted section.

The middle reflection on the bottom was also completed wet in wet...be extremely careful here we used three primary colours and if not careful you can create mud...do not overwork the area.

Most of the mask has been removed now...the only areas that still have mask are the edges on the red vase and the pink glass.  The  highlights in the yellow vase and of course the white section at the bottom of the yellow vase.

 In this last image we began to add the darkest darks to the right hand vases.   Using Indigo or Indanthrone Blue, we added a layer over the sections of already dark blue.

Just a reminder before I close, to have fun, loosen up, use a larger thirsty brush, and breathe!

Painting Glass & Reflections at Monterey centre Part 2

In two weeks since the last post, we have added many thin layers of colour.   

Each layer creates a painting that glows; the first layers of transparent colour glowing through the layers on top.  In some cases we masked the lighter values to ensure they are reserved.  This method ensures we retain the lighter values and with each layer create darker values in areas where the darker values are needed. 

 In the next phase, and prior to adding the next layer, I removed some of the mask in the reflection, and added another layer of colour in most areas.   

During this process it is important to use your reference to determine value, hue, and edges either hard or soft. Also important is to use the right size brush for the area you are painting.  We discussed this in the earlier classes.  It is one of the keys to a fine wash. In many cases we mixed colour on the paper...remember to get in and get out...no over stroking.

What a fun piece to paint.  I want you have fun with this...it may seem daunting, but remember breaking it down into smaller sections and painting one section at a time will get you to the end without feeling too overwhelmed.

FCA Annual Fall Show at Morris Gallery

This is the second year we've had the Annual Fall Show at the Morris Gallery.

"Victoria’s largest Art Gallery celebrating its 11^th year, with space equivalent to five or six downtown galleries, where you will find multiple works by local artists always on display.  Morris Gallery is only five minutes from downtown by car and a pleasant 25 minute stroll along the Galloping Goose Trail." *

The Victoria Chapter of the  Federation of Canadian Artists boasts many professional artists with names like Dorothy Oxborough; Catherine Moffat; David Goatley; Anne Hudec, Clement Kwan,  Marney Ward; and many other notable and accomplished Artists.  

And then there is little ol' me.  I submitted two pieces in hopes of getting at least one in, and both pieces were accepted.  Having my work hang with the caliber of artists in this show is indeed an honour and very humbling.

This Year the show will run from Oct 2nd to Oct 27th; and Opening night will be October 4th.  A fun event, the artists are there to discuss their individual works and the food and wine flows.  I hope you will join us.

The works I've entered are entitled "His Majesty" and "Resting Place".   These images may not reflect the full quality of the piece as they were taken through the glass after framing...I know..I know...I've got to remember to take the photo before the piece is framed.

His Majesty

Resting Place

 * from the Morris gallery website.

Painting Glass & Reflections at Monterey centre Part 1

We have been painting on this piece for a couple of weeks now, that is 2 - 3 hour classes...
This piece is all about layering -- also known as glazing. We started by masking out the whitest whites...steps following the drying process include starting with a base coat of a warm yellow on the left and a thin layer of Cobalt or French Ultramarine on the right.

First few steps; at this point there are 1-3 layers on most areas.

I masked out some of the areas to preserve the next lightest value.
I have painted a warm red (Scarlet Lake) over the yellow and a cooler red ( Permenant Rose) over the areas on the right.
Over the next weeks I will add an image of the process each week.  I may or may not give details of each step...it will depend on whether time permits.  So, I apologize ahead of time if the details are not there...just a lot going on right now with the huge renovation here in Brentwood.

Here are a few tips on creating a fine wash without blossoms, lines in your work or gaps of white where you do not them.
1) Mix up enough pigment in the concentration you want to cover the whole area.  Running out of pigment part way through a wash makes it nearly impossible to match the value again.
2) Match the size of your brush to the area you are glazing.  Using a brush too small will almost always result in lines and streaks in your work.(often a synthetic brush will do the same if it does not hold enough water)
3) Elevate your work slightly to make it easier to create a bead of wet paint.(also known as Mr. Bead*.)  If you work with Mr Bead, you will always have a finer wash.  Slurp Mr Bead up at the end of the wash so it does not backwash into the drying section.
 
* Mr Bead, is in reference to Joseph Zubucvic's  term he coined for the bead that sits on the edge of your wash when elevated.  I took a workshop with him in Vancouver a few years ago put on by Jamie Kelly.  He had a picture that he had painted with a man with a big belly and made reference to him each time he created a bead of paint.