My newest painting: "Aqua Vit"

Painting glass in watercolour; it seems highly unlikely to me that one could paint something that is transparent, and make it resemble the physical object.

I have been blessed enough to study techniques for painting glass with some masterful artists:  Paul Jackson, Leslie Redhead, Gerry Thompson, and Soon Warren.  Each of these Artists approach this subject differently, and I have learned something different from every one.  I have incorporated something from each course I've taken into my paintings thus creating my own style.

My objective is to achieve that smooth and shiny, reflective, transparent surface.  The key to this is very simple once you know the tricks. It's the practice factor that makes it a challenge.  I have painted many successful and not so successful images of glass in my efforts to perfect these skills.

My most recent paintings "Fruits of my Labour", "Harvest Green", and "Aqua Vit", are three of what I would suggest without arrogance that have been successful pieces.  By successful, I don't mean prize winning. What I mean is they have the look and feel of three dimensions and the glass is smooth, shiny, reflective and transparent.  I will say though that "Fruits of My Labour" won an Honourable Mention at the recent CSPWC regional show "Western Streams", and Harvest Green was juried into a show in Vancouver at the FCA Gallery. You are seeing this piece "Aqua Vit" first (before I enter it anywhere.)  All three pieces have a common theme...wine.


My recent teaching expedition to Naramata with Leslie Redhead and 13 other artists reinforced my love of painting still life, glass, and reflections and as a matter of course...wine. So why not paint everything wine...so many possible compositions.

This desire to paint "everything wine"...also has roots in my and my husband Glenn's interest in wine.  We have been buying and tasting wines seriously for about a year now.  I think we've always had good taste in wine, we've just never explored it before.  Now, we belong to a few wine clubs, and we have been trying to develop a palette for good wine.  Another 10,000 bottles, and 10,000 meals and pairings and we may have an inkling...

My most recent still life painting "Aqua Vit" was set up during the Naramata experience. Still life settings were created for the students to paint at the Wineries and Vineyards we visited.

This still life consisted of a background fabric; it is a simple warm yellow brocade; the raised stitching matched nicely with the logo for the Poplar Grove Winery.  The simple wine bottle and goblet that became a series of complex shapes made possible by the fabric in behind.  These two objects overlapped and became the focal point.  The contrast of the grape leaves and the fruit of the rich blue-purple of the cabernet franc varietal made me drool...and I ached to paint it.

I originally thought to keep it simple using just a few objects.  However, as I drew out the many small shapes that made up the whole, it became more and more daunting..."what was I getting myself into?" I was not dissuaded.  I was more determined than ever to try and make it work.

In the process while painting the 17.25x15 piece, I evaluated it at each step, and I took my time.  Patience for me was integral to getting this piece finished; with more than 60 hours in this average size piece, without patience, I would have pulled my hair out.  The image has many layers of mainly three colours, Quin Gold, Pthalo Blue, and Permanent Rose, and mixtures of each, and a few dabs of highlight colours here and there at the end.  And the simple key I spoke of earlier is the 9 step value scale and the shapes.

So, tell me was I successful?  You be the judge...critique's are welcome...

Cheers and keep your brush wet!
Sam

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Painting transparent objects can be tricky. The question is how can we illustrate the form of the object while still allowing the object to appear see-through or transparent. With painting transparent objects, there are some basic tips that can help us  achieve this goal more easily. They are: - See more at: http://www.paintdrawpaint.com/2010/12/watercolor-basics-how-to-paint-glass.html#sthash.XCzTI3JJ.dpuf

Harvest Green Stage 2

The next steps are to add hue and value. The colours need to intensified and the values do too. Highlights are preserved using masque, and shadows need to be added using a darker blue grey hue, or the compliment.  The correct values will provide dimension and depth to the piece.

Step 1 Refer to the reference image to determine shadow areas in the grapes and the leaf.  I added french ultramarine blue (FUB) to the shadows.

 

Step 2. Adding more colour to the bottle:  Again, using the reference, I needed to intensify the value on the bottle to give it shape.  I wanted to preserve the luminosity, so I worked wet-in-wet with transparent colours.  Transparent pigment is critical because opaque hues will result in a muddy appearance when layered. Opaques tend to lift a bit when you glaze over top of them, mixing the pigments resulting in mud.

I added Pthalo Green, and Alizron, to make a richer dark, for the dark areas, and using the cool yellow on the upper shoulder and a mixture of Pthalo and Cool yellow to make the chartreuse on the lower shoulder.  The pigment was applied in a slightly value.  Keeping it transparent.  Do not go too dark too quickly. 
Once the value was close, I lifted out a small section next to the grapes (using a scrubby brush, Simply Simmons, 1/8 to 1/4 chisel; these brushes are firm yet soft, and are perfect for lifting out pigment without damaging the fine art paper).  Let dry before adding more pigment. over the darker areas. 

Step 3 Painting the wine glass, and the leaf behind the glass: I used the same mixtures to make the chartreuse and a few different values of greens, and using the reference as my guide, built up the values, and masking in-between layers to preserve the highlights or in some cases painting around the highlights. 

Step 4 Grape Stems: I layered colour beginning with yellow.  Let dry, and add, Burnt Sienna, and while that is wet, add a richer dark on the underside, and let it bleed up. make sure to preserve the highlight by masking or lifting out after it is dry.

Step 5 Leaf: I removed the mask and put a wash of yellow over the entire leaf.  let dry.
Mixing up a greyed down midtone bluegreen, using Pthalo, FUB, and a touch of Alizron, I negative painted the spaces between the veins.

Step 6 The stem of the glass: I removed the masque and worked with the reference to build up the values that give the stem depth and roundness. I did not try and make every mark as it appears in the reference photo.  Instead I built up the mid tones and added a few details at the end with a darker hue. 

It's getting very close now.  I take a photo of the painting and look at it on the computer...this helps me to see the areas that are glaringly wrong and subtle changes that can be made to make the painting better.  I start on the far left, and compare my painting to the reference photo to ensure the values are correct.  Be careful not to overcompensate, photos can be misleading in the shadows, and end up too dark.

Harvest Green

Painting Waves The finishing touches...

I painted in the shadows of the bird. I added a few touches to the forefront, and the curve of the wave.
Scratched out a bit of foam and calling it done.

Painting the Harvest Green Stage 1

We are actually beginning the process part way through because I forgot to take pictures...
Here are the steps leading up to the following image:
Step 1 Draw or transfer your image to the watercolour paper Arches 140 lb or 300 lb 100% cotton rag.
Step 2 Masque out the whitest whites.  Dry
Step 3 Using a cool transparent yellow,  very pale,  wash over the entire piece (except in the areas that are blue/grey in the image, in these areas use raw sienna, very pale); dry.
Step 4 masque out the next palest value. Dry
Step 5 Another wash, this time drop in some warm yellow in the leaf, the glass, and the top of the bottle. Dry
Step 6. Paint the grapes individually wet in wet using pthalo green and cool yellow to make that chartreuse green hue.  Then drop in a bit of Ultramarine blue and the green randomly into the shadow areas on each grape.
Step 7 Paint the cork and glass around the cork with raw sienna, and Opera pink. Dry

Step 8 Using the reference photo, note where the values need to change. Using Pthalo, Alizron and a mixture of the two to make a rich dark,  lay down the hues next to each other and let them mingle wet into wet; do not overwork the areas, drop in the pigment and soften the outside edges. 
Step 9 clean up edges where needed before you move on to the next Stages.
Stay tuned.

Art in the Vineyards, Naramata, BC

What a time...Plein Air and Still Life painting led by Leslie Redhead and Sam L Boehner respectively, in the sun drenched hills of the Naramata Bench Wine Region of BC. 

Who would have thought the temperatures would reach  north of 30° C.   The sun warmed our weary bones, coming from as far away as the Lower Mainland, Vancouver Island and Prince Rupert, where it rains a fair bit. 

This area has been transformed into a mini Napa Valley with regards to the look and feel of the area.  It has however, a feel and look of it's own.  The sage brush, the dry hills, and the lush vegetation that is the vineyards and orchards of the Okanogan Valley.

Upon arrival, the Naramata Centre, with it's spiritual connection allowed us to ground ourselves with a walk in the Labyrinth.  Staying there also offered us the opportunity to refresh ourselves with a dip in the lake each day. After a long day of painting, wine tasting and more painting, it was a welcome treat.

We were 15 painters, experiencing gourmet food, wine pairings, an evening of Jazz, a visit to the largest Farm Market in the country (a still life painter's dream) and to top off we got to paint everyday. Could we have asked for anything more? 

Leslie and I have decided to do this again in 2015.  If you are interested in this type of experience, let us know early as we have a group already that want to come back.  You may contact us through www.IslandArtEscape.com .

Day 3 Waves

A few more steps...we are getting close now to the finished wave.  The next thing I did was to draw in the bird, and because I had already painted the water, I needed to scrub out the blue...how? you ask...
I created a template.  Using regular ol' packing tape...I took a piece off the roll...laid it on the back of my hand to remove a bit of the tack, then put it over the drawing of the bird. 
With a very sharp (new blade) ex-acto knife, I very carefully cut out the tape around the outline of the bird.  *Tip*: be careful not to cut your paper.

Once the outline of the bird was cut out, I carefully lifted out the tape. Wha-laa...instant template... I then used Mr Clean Magic Eraser (the original brand, no other) to clean off the paint. We will paint the bird later...

The next thing I did was put in some darker values in the shadow areas. in the area behind the wave and under the wave.

Next, use raw sienna, burnt sienna, and a seaweed green mixture (pthalo blue green shade, and your cool yellow), and using your reference as a guide lay the colours into the rocky area in the foreground.  Then when there is still a sheen to the paint, add a bit of salt to create texture.  I also added some french ultra marine blue to the rocks to create the darker shadow areas.  Ensure your waterline at the bottom of the wave is not straight across. 

Now it is time to put the finishing touches and paint the bird.  Remove all the masking fluid using your thumb, or a rubber cement eraser.  Stay tuned for the finishing touches.

Day 2 and 3 of Florals: A bugs Perspective; painting a calla lily

                           On a recent excursion to

Seattle with Leslie Redhead I took this image at Pike Place Market.  I loved the back light effect and the glow it created within the Calla Lilies.  I cropped the image and photo-shopped it so we were dealing with colours other than grey.  

We sketched out the image on 140 lb cold press paper and masked out the whitest whites to preserve them in case we get carried away with the paint.  We begin adding a warm yellow to the areas where you see a warm glow, and also on the areas that will be background and stems. Once it dries, add another layer of colour finding the areas that are a bit reddish to the petals and in the bowl of the lily adding a warm red, we used scarlet lake.

Using a large brush, we began adding mauve, a mixture of Opera Pink and Cobalt Blue to those areas that appear that way in the image.  Remember to soften those edges  with clear water that appear soft in the reference. I added a touch of dark value to get a feeling for the range of values we would be dealing with..(mixing a rich green)... I just couldn't resist.

We added wet-in-wet warm yellow and a warm red to the stamen.  As well, a first coat of green to the stem areas. 

More to come for next weeks class.  Stay tuned.

Day 2 of Waves for the students at Monterey Centre

We are painting a wave, this is a traditional wave form.  We will be painting it in layers.  Trying to keep the transparency of the light coming through.  In completing this painting you will learn, about shapes, and value. We will also experiment a bit with texture.

We started by sketching our image onto 140 lb cold press Arches paper.  Using a bit of frisket or masking fluid to keep some of the areas of froth white. That was done by the end of Day 1.

Our first layer will be on the ocean, that is the expanse of sea behind the wave.  We used a "knat's whisker" of pthalo blue. and using dry brush technique painted the upper portion of the painting very quickly, leaving some bits of white in the process.

The same process was done in the foreground for the lava rock and seaweed the first coat being raw sienna.

Next we added some Ultra marine over the Pthlao on the area behind the wave.  The mixture was a bit darker and again we used the dry brush technique.

 Next we gave a first coat to the wave. Again using pthalo, and a cool transparent yellow to make an aqua colour, lots of water was added to maintain transparency.  The solution should be like clear tea. 

Turning the painting over, we added more pigment from the edge of the froth and moving our brush in the same direction as the wave we put in the next value.  The important part here is to keep the direction consistent throughout the wave. 

 This is the image at the end of Day 2.  Stay tuned for more of the Wave.  

Soon Wareen Workshop Promotion Extended

Hi there, all you watercolour fanatics...Soon Wareen is still coming to Victoria.

And, because I have been tardy in updating my website and my blog, to let you know that the deadline for the end of the promotion was looming... I am extending it until Monday March 4th.

If you email me or send a Facebook message prior to March 4th with your intent to register, and forward a cheque to the address on the site, postmarked before March 6th, I will be happy to extend the promotion to you. 

Please visit Island Art Escape for registration details.

Monterey Classes March 27- April 24

 

 

REALISTIC WAVES IN SEASCAPES

You will take away your own watercolour painting of a Seascape

and the knowledge of how to create the realistic waves that make these paintings so desirable. Luminous seascapes are only a few classes away. This is a highly sought after class, so do not delay,come join in on the fun. Supplies required. 

 

March 27-April 24

 

FLORALS: A BUGS PERSPECTIVE IN WATERCOLOUR

Students will paint an enlarged view of flowers based on GeorgiaO’Keefe’s  style of floral paintings. We will paint a floral close up and personal from a honey bee’s perspective. What fun! You will learn how to mix colours using a limited palette and how to work in thin layers of washes to build a flower that glows. Supplies required. 

March 27-April 24

 

 

 

This time around we are going to work on Calla Lilies.  Hope you will join us

Bouncing Chartreuse?

I finally finished a piece I started back in November...(having been inspired way back then by Paul Jackson's workshop to paint glass) Fortunately for me my husband and I collect glass...so it wasn't difficult to come up with a series of images from which to choose.  This one stood out for me, mainly because of the warm light that is filtering through the water glass at the back, and the reflected chartreuse light that is bouncing around the piece...

Is there enough contrast in the piece to create that wow factor or are there just too many midtones.
I am thinking about cropping the piece to set the focal point more on the division of thirds... one of the conventions for a good composition.

Having cropped it... now I'm thinking that curve of dark value on the left is important to the flow and how the viewer moves through the piece. It also creates more room behind the focal point and gives the piece more dimension...Dilemmas...I'll sleep on it and decide tomorrow when I can look at it with fresh eyes. I'm leaning toward the original.

 The only other thing is to name it...I'm thinking "Perfume Dulcé"; or "Bouncing Chartreuse."