windowtoart: "Painting": Painting Sequence 1 Sequence 2 Sequence 3 Basics 4 Basics 3 Choices
SEEING IS BELIEVING
Regardless how many practices beginning students accomplish, visual aids are most helpful in reinforcing confidence. Since the summary paintings were much larger than any practices to that point, painted reminders of each practiced step were presented in poster form. It was convincing to see sketches showing through background layers, and how the entire painting was developed by direct color overlay. Posters were 22"x28" in size.
First, students were reminded that these illustrations were only as visual assistance for remembering sequential painting steps. All colors, themes, brush techiques were to be entirely their own choosing.
Here, emphasis is on fearless painting directly over the preliminary sketches. The sketch is not carved in stone and change should always be welcomed. The sky area is painted first, smooth, in this case, with yellow, blue, purple and black blended into a white background.
The blended hues partially cover the mountains insuring coverage behind them.
Now, it's time to bring out the mountains "in front of" the sky. They are each color treated independently emphasizing those on the left and fading towards the right.
Darker values of blues, purples, browns and greens are placed "up front". Lighter mixtures are painted behind them with tints.
After initial hues are brush painted, small, dry brush strokes are added to mountain edges and shadows for more depth and dimension.
With this step the background is essentially completed and the foreground is begun.
Colors from the upper background are continued in the bottom, with the addition of more brown scattering. Tints of green, brown, gray and yellow continue the light, pastel hues from top to bottom.
Again, it was stressed to the students, that these light tones were my preference and need not be theirs. Depending upon the theme chosen, their background could be darker, heavier or more textured in their plans and outcome.
The pencil sketch is still visible beneath the layers--one reason for using such tones--and now the detail work is ready to be put into effect.
Should very dark hues be desired for the background, that sketch area could be outlined with black marker for more visibility. The are could also be done in layers, with lighter values setting up the needed outlines or sections, and darker ones added as needed.
Now, let's get on with the big stuff! Proceed on to the foreground happenings with FOREGROUND for the beginning layers. The light is truly coming at the end of the tunnel.
DRAWING PAINTING WORD ART 3D GRAPHICS MIXED MEDIA HOME SITE PLAN CHOICES