I have to say a word about the set. It’s really useful, and very cost-effective. Each of the paints are useful on their own. I would highly recommend getting it.
Conclusion
If you love Daniel Smith paints, I’d look into this one. It’s a good, neutral yellow to have.
Despite me not liking the set AS A SET, I would recommend getting it. That is because the individual paints are great in their own right.
I hope you enjoyed this one, and I’ll talk to you again real soon!
A while ago I worked on this painting of a pastry called Rozalach (which is insanely delicious!!).
I also recorded the entire painting process.
As I was watching the footage, I realised it would be great material to talk about DRAWING in the context of painting.
In other words, this is great content to explain how to draw for a painting.
so without further ado, here’s the video (and if you prefer to read – scroll on! 😉)
Drawing for a painting is different
Drawing for a painting is different from drawing when pencil is the final purpose in mind.
It requires to be as detailed as necessary, but not more than that.
With this process, I starting by marking the edges of the pile of Rozalach pastries.
You can see what these look like in the reference pic on the top left corner.
Once I finished indicating the edges, I was able to fill up the space with quick sketches, representing the shapes of the tasty doughy rolls.
This is the hardest part. Once you get those guidelines in, it’s only a matter of filling in the gaps with the finer details.
Here you see me filling in those details. The main things I’m looking for are strong changes in values (meaning darks and lights).
When drawing for a painting, this is extremely important.
Here is the final drawing!
This is a good indication of how a typical drawing that’s ready to paint will look.
Some prefer to be more detailed, while others prefer less details.
I will tell you what – I recommend experimenting with both. Trying different levels of detail has its utility.
More detailed – may allow for more realistic results.
Less detailed – allows you to practice using the brush more, and “drawing” with the paint (rather than just “coloring” the areas between the lines).
And now is my favourite part – The drawing is ready to be painted! At this stage I can already imagine the colors I’ll be using, and the transparency of watercolor (which I love).
Painting
List of colors:
New Gamboge
Quinacridone Burnt Orange
Pyrrol Scarlet
French Ultramarine
Here is the very first wash.
My main concern is achieving an even result that’s “flowing” properly, and a variety of interesting colors.
Sometimes I go really wild with my colors (especially with portraits), but this time I decided not too.
I was afraid the colors will make it harder to communicate what I painted (a pastry that not everyone will be instantly familiar with).
And so I decided to go with an interesting range of yellows, oranges, reds and some blues.
Notice how I also made sure to connect the Rozalachs with the background. The purpose is to ensure they don’t appear to be “cut off” from the background. We want them to look like an integral part of the setting.
I find this extremely important at times, especially with painting people as a part of a scene.
After that, I move onto the second wash, where we’ll put in the darker shades.
This immediately breaks the painting down into more discernible shapes that actually have a meaning.
In most paintings, I find this to be the most difficult stage. That’s because you really need to start paying attention to the drawing.
There’s one cool effect I think I was able to get at this stage.
The pastries are covered in sugar powder. To indicate that powder’s texture I made use of the paper’s texture (I’m using a cold-press paper for this one).
Notice the areas just under the Rozalachs in particular. I used dry brush strokes that will preserve the paper’s texture and create a powder-like effect.
In this episode of my podcast I’m talking about creating indoors VS outdoors. I elaborate on how these are different, and what the benefits are of doing both.
I focus mainly on the implications for visual artists – painters, sketchers, sculptors and so on.
Working outdoors is messier, more dynamic, full of changes, distractions and so on. However, it’s much more immersive, and sucks you into the scene.
Working indoors is cleaner, more well-organised. But it does take you out of the environment to some extent, and “weaken” some of your senses and perception.
I believe you can get the most benefit by practicing to alternate between the two. This means working outdoors, and then indoors.
I also aspire to do both. That way my skills in one are will flow to the other.
Artist Corner
In this episode I mention James Gurney. He is an amazing artist and creator, most well know for creating the Dinotopia book series.
But the reason I personally love him is his tutorials on YouTube, where he paints mostly with gouache paint. This actually got me really interested in gouache myself, and I’ll probably give it a try in the future!
Be sure to check out his YouTube channel here: James Gurney
In this episode of my podcast we’ll discuss how to master an artistic field or endeavor, using macro and micro skills.
Micro Skills – The How
Another word for these would be “techniques”. This is the technical know-how of your artistic field. In watercolor, this means blending edges, matching values and dry brush techniques.
In drawing, this can be properly holding the pencil, creating a gradual shift in values and so on.
Mastering these is pretty straightforward. You practice them until you are competent.
Macro Skills – The Why
This is where the challenge begins.
If the micro skills were the “how to”, the macro skills are the “why we do things the way we do them”.
These can include composition, color selection, arrangement, telling a story or explaining an idea through our art. They also include work-process-related ideas.
This is less of a thing to “work on” in a targeted manner like the micro skills. A lot of this comes down to lots of experimentation and being open and present during the creation process.
I want to emphasise once again – these CAN improve – by practicing correctly.
My Progress With Watercolor Painting
I feel like I’m at a spot where I’m very competent with the micro skills. I wouldn’t say I MASTERED them. But I’m pretty good.
And with the macro skills? I feel like I’m still learning. And there’s A LOT to learn. This pleases me, because it shows the huge potential I can still tap into.
And the way I see it – mastering both micro and macro is the recipe for magic.
I hope you enjoyed this one!
Show Notes
I mentioned Jack Hamm’s book: Drawing Scenery. Here’s a link to purchase it on Amazon (affiliate): http://amzn.to/2Au2VsP
