Wonderful company (Candace Camling of course), Melinda Kabel is a pleasure to learn from, and the other students are just some of the sweetest people. Tho, it was challenging for me, the watercolor fantasy artist.
The class in a nutshell is this: she gives a project to work on, tho you don't have to do it. If you have your own it can also be like an open studio.
We chose a black and white photocopy of a landscape and then did a neutral value study of it. This wasn't too difficult, but required me to stay loose in my approach and thinking. I decided to use my watercolor moleskine thats been sitting around for years unused.
After that you find a color magazine tear out of a different painting, but applying the colors from that piece to your black and white study. Make sense? So in the end you would have two paintings.
I found this to be frustrating and difficult. I chatted with Melinda about how I can see the colors for what they are, but to start mixing them.......
let's just say that I felt like I was brand new to the medium and felt what every beginning watercolor student felt..the worry that I was going to mess it up.
I think over time of building up the painting it would have turned out fine. I felt like all eyes were on me tho because I was the only one doing a landscape on hot press watercolor paper. I understand where it can create a problem, but it's what I own and like most, I can't purchase more paper at the moment.
The Ah Ha Moment
During the class I also talked to the instructor about what I was hoping to discover in the course of 13 weeks. I want to learn how to get a great sense of light and shadow without muddying up my paint. I feel I tend to do that in my work. I have noticed that for some reason the colors just don't "go" with each other.
|"Love Floats" Giveaway
We talked, and she asked me to make some color palettes for skin. I needed to choose a red, yellow, and blue for each one....making several palettes from different primaries. HOURS later as I was doing this it clicked!!
The reason my shadows don't work with my lights is because I keep changing my reds, yellows, and blues throughout the painting. There is no consistency! Duh! I couldn't believe it took this long to figure out.
I finished "Love Floats" with this concept. I think she turned out vibrant and cohesive. She's muddy in places because of the work I did on her before the class. But her tail, hair, and skin all flow together.
This does not set aside my fears. I did the palettes and still feel a bit lost. I think this will definitely be a growing period in my painting. So look forward to inconsistent works full of exploration. I think. :P
Hopefully in the next few weeks I'll have a skin palette that will be "my" palette!
Here's a study I'm doing with a palette similar to artist Paul McCormack 's palette (more links below). Testing it out trying to figure out how to apply the colors, where, and when. I think this is going to take lots of practice. o.O
|Rose Doré, Yellow Ochre mixed with Cad. Yellow, Phthalo Blue
Here's the link: How to Set Up a Watercolor Palette: Part I
It took about 5mins to load each video (and couldn't do anything else in Safari while it loaded), so be forewarned. But I personally felt it was worth the wait.
How to Set Up a Watercolor Palette: Part II
There are other videos by him, gonna watch those next! His website is full of stuff too. Wee!