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Three suggestions for a successful watercolor plein-air experience
Three suggestions for a successful watercolor plein-air experience
Three suggestions for a successful watercolor plein-air experience
With the arrival of warmer weather and some flexibility in my schedule, I'm getting back into plein-air painting. Even though it's a fun experience, I find it to be somewhat difficult. I want to talk to you today about my plein-air painting experience, including my method and the difficulties I encountered.
It's almost as though not painting outdoors qualifies one as a true artist because plein-air painting has become so idealized. Sometimes I succumb to this "peer pressure." But plein-air painting is not simple. It almost seems like a test to me since you are under much more pressure to create a quality painting in a shorter amount of time than you would in your home or studio. Most likely, your setup is not as thorough. There are noises, people moving around in the scene, changing lighting, and the possibility of audience members asking you questions. In any case, the lesson here is that, although fun, plein air painting is not as simple. I would like to share with you the steps involved in my most recent plain-air
And now for the arrangement. I can go over my plein-air set up in another video. In fact, I'm considering simplifying it even further. I currently have a little aluminum palette that I customized and dried, along with a modified pochade box. I have an eraser, a pencil, and four brushes. Naturally, I also use a watercolor pad so I don't have to bring an additional board. It's easier because there's a picnic table by the lake because it's a park.
The location is the next item. I didn't really choose the place in my instance. I was just following along when my wife took the kids to the park to meet up with some friends. Still, I chose the scene. Since there is a lake nearby, explore the area and look for a picturesque sight to paint. You can see the video I made about choosing your subjects to get more advice on the issue. Finding a major shape that is both easy to read and, ideally, easy to paint is the basic notion. Remember that you only have a short amount of time, so choose a scene that isn't too complicated unless you have the confidence to make it simpler.
Once you pick a scene, do a value study instead of going straight in if time allows. It helped me to come up with a solid plan for the painting. A value study is also a great process to simplify what you see. Keep your camera handy. Things move around and change, so if you happen to see something you really like, snap a quick photo for your own reference. While I was painting, I saw two people paddleboarding, I thought they’ll look great in the painting. Knowing that they will paddle away very soon, I took a quick photo for reference later.
Finally, as Joseph Zbukvic taught me, never compare your painting to the actual landscape. I tried to photograph a sight that had existed for a very long time for around an hour. I therefore cannot compete. This is vital because if you strive too hard, you can overwork your painting. And it usually doesn't look well in the end.
I therefore only captured a portion of the painting process rather than the entire thing. Nevertheless, I hope the video this week is useful to you. It's challenging for me to record video outside alone. I'm hoping I'll be able to pull it off the next time. Once more, for me, plein-air painting is a test of ability. It requires expertise and practice. I'm not going to be the artist to make fun of you for not trying something you don't love doing, even though I do encourage everyone to try. Practice in the studio more, and when you're ready, give it another go.
Explore the Basics of Drawing
Explore the Basics of Drawing
Explore the Basics of Drawing
Explore the Basics of Drawing
There’s more than one way to make a drawing!
Scribbling is done quickly to find the overall shape of an object. Try to keep your pencil on the paper while you scribble.
Gesture drawing is similar to scribbling. Artists use it to capture the form of an object in a loose, quick way. They sometimes add details on top of the drawing to define forms.
Light and heavy pressure build up tone and texture.
Contour breaks down objects to simple lines and forms.
Hatching uses short or long parallel lines to define forms.
Crosshatching utilizes intersecting parallel lines to add tone and texture to a drawing.
Combining these techniques creates different levels of shading, texture, and effects throughout a drawing.
Elements of art
Elements of art
Introduction
Introduction
Value describes how light the tones in an image appear to the human eye. The value element can be "measured in various units designating electromagnetic radiation" and is consistent with the term brightness. The contrast term refers to the difference between the lightest (white) and darkest (black) tones in an artwork, with an endless range of gray variations in between. Though it is primarily applicable to grayscale photos, colored images can also serve as examples of it.
Line
Line
Drawings known as lines are marks that move in a space between two locations. Depending on how the line is drawn, the spectator can see the movement, direction, and intention of the stroke. Lines define an outline and, depending on their length and curve, can provide texture. Artists can employ a variety of lines, each with a distinct purpose, such as actual, implied, vertical, horizontal, diagonal, and contour lines.
Shape
Shape
A form is a two-dimensional design with lines enclosing it to represent its height and breadth structure. It can appear three-dimensional by utilizing various color values within the shape. Shapes are utilized in animation to lend a character a unique personality and set of attributes; the animator works with the shapes to give them fresh life. An artist can employ a variety of shapes that fall into two categories: mathematically specified geometric shapes and artistically developed organic shapes. Simple geometric shapes, such as squares, triangles, and circles, have a synthetic, symbolic vibe, yet sharply pointed, acutely angled shapes are seen as hazardous. Curvilinear shapes are chaotic and flexible, whereas rectilinear shapes are thought to be more stable and structurally sound.
Form
Form
A three-dimensional form has volume in the dimensions of height, breadth, and depth. Cubes, spheres, and cylinders are some of these objects. Since form is most closely associated with three-dimensional art, it is frequently used to refer to actual works of art, such as sculptures.
Color
Color
Hues are the building blocks of color, and each hue has three distinct properties: hue, chroma or intensity, and value. When light strikes an object and is reflected back into the eye, it reacts with a hue that originates in the optic nerve, creating color. Hue, or the recognizable color, such as red, blue, or yellow, is the first property.[9] Value, or the hue's brightness or darkness, is the following characteristic.[9] The final factor that differentiates between strong and weak colors is chroma, or intensity.[9] Through the usage of the primary colors of the color wheel, chromatic scale can be seen visually.
Space (positive and Negative space)
Space (positive and Negative space)
Space describes how shapes and objects are viewed in respect to the foreground or background, as well as the perspective (distance between and around) and proportion (size) between them. An artist can create a variety of places to produce different effects. The parts of the work that have a topic are referred to as positive space, and the parts that don't are referred to as negative space. Similar to three-dimensional art, such as sculptures, open spaces are devoid of objects, whereas confined spaces house actual sculptures.
Texture
Texture
The term "texture" refers to the kinds of lines the artist produced and is used to characterize the surface quality of the piece. The surface quality might be purely visible (implied) or tactile (actual). While visual surface quality defines how the eye perceives the texture based on visual cues, tactile surface quality is mostly visible through three-dimensional works, such as sculptures, where the observer can see and/or feel the many textures present.
Value
Value
Value describes how light the tones in an image appear to the human eye. The value element can be "measured in various units designating electromagnetic radiation" and is consistent with the term brightness. The contrast term refers to the difference between the lightest (white) and darkest (black) tones in an artwork, with an endless range of gray variations in between. Though it is primarily applicable to grayscale photos, colored images can also serve as examples of it.
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