Wednesday, March 26, 2014
This painting was my latest demo for my advanced watercolor class at the Frank Bette Center for the Arts in Alameda. The class topic was working with figures in your composition. During the six week class we walked through the painting in steps.The first day was a discussion of drawing figures and the importance of seeing the gesture and the silhouette. I painted several figures actively fishing and working on a sailboat. Once the silhouette was defined then shape shadowing was added.
The following week I began the demonstration of "By The Church." The first step was to consider where the figure should be placed. When I had taken the source photo, the figure had already walked past the dark open door to the church. The doorway had been a very dynamic position with the figure entering the picture from the right and her bright colors set off by the dark surrounding. In the the photograph she has walked past, into almost the center of the picture and her head merges with the line of the shelf behind her. So I moved her position in the painting to the more appealing place in front of the dark doorway.
|My next step was to further develop the light and dark spaces to accent the center of interest: Our lady looking at the statue on the church.|
|To complete the painting I have waited a day to think about what was needed. I added a few more dark spots and a few light lifted areas like the border at the base of the church wall. The woman's shadow was lightened so her dark shoe now shows. You can see more of my work and purchase it, on my website http://www.margaretfago.com/|
Wednesday, March 5, 2014
I've decided to start a blog about my painting processes that I share with my students.
|"Brown House" from a demo in Plein Air Painting|
|Plum Blossom Lagoon ~ The power of negative painting while capturing reflections|
|"Pathways" ~ Balancing light and dark passages in a painting to lead the eye in a journey through the image. Using the power of the human figure as well as color and value contrasts to make a strong center of interest.|
First the entire sheet was wet until it was soaked, where the water wants to run off the sheet. Quinacridone Rose, and Ultramarine Blue were charged side by side into the wet surface to create the lightest colors in the painting.
After it was totally dry, the darker beach and lower waves were painted in sections using Quin Rose, Ultramarine Blue, Burnt Sienna, plus a touch of Sap Green. Soft edges between colors were created wet in wet. Hard edges happen where wet meets dry areas.
Once the beach area was dry, I did the same in the sky to create the clouds, leaning toward blue in my greyed mixture instead of brown.
Lastly I mixed my black using the same three basic colors, which was used to paint the hill and very small people in the distance. Biggest hint: Paint boldly and do not go go back in to fuss in the dark passages once they are laid down.