Train Station in the Rain

Transcription

1 Train Station in the Rain A Watercolor Demonstration

2 Thank you for coming out today to attend my watercolor demonstration. Before getting into watercolor technique I want to just briefly speak about motivation. My motivation for painting has changed as I have matured. Of course it is only natural that after a certain amount of living the things we give our time to have more meaning, Art, and the making of art has more meaning for me today than it had before. I find I have more to say and understand how to say what I want in a variety of ways. Or, I might say a variety of levels. To explain what I mean I use 2 examples of defining what rain means. Here is a definition of rain: Rain: Water that is condensed from the aqueous vapor and falls to earth in drops more than 1/50 inch in diameter. Websters Dictionary Here is another definition of rain Oh, gray and tender is the rain, That drips, drips on the pane! A hundred things come in the door, The scent of herbs, the thought of yore. I see the pool out in the grass,

3 A bit of broken glass; The red flags running wet and straight, Down to the little flapping gate. Lombardy poplars tall and three, Across the road I see; There is no loveliness so plain As a tall poplar in the rain. But oh, the hundred things and more, That come in at the door! -- The smack of mint, old joy, old pain, Caught in the gray and tender rain. Oh, Gray And Tender Is The Rain by Lizette Woodworth Reese Both communicate but on different levels. Watercolor in particular has responded to my poetic nature, and fostered in me economy, spontaneity, and depth of expression.

4 Selecting the Subject First and foremost we need a subject, the subject upon which all future decisions are based. I have chosen a scene of the The Union Station in Center. The season is late fall and I am looking at union street as taxis jostle on the street and pedestrians walk with their umbrellas I see this view often and today winter in the air and rain clouds gathering, it is inviting me to paint. It is true, anything can be a subject for painting but I favor certain views and lighting situations and when I see this scene today I can almost envision the finished painting. That is a clear sign to me that I should do this painting. I A sketch or a small painting is my first step towards realizing this subject in the elusive media of watercolor. I also snap a photo for details. Design the subject Though I can see the painting in my minds eye this is not always the case and performing the painting in watercolor often requires me to go through additional steps before I arrive at a more complete image, all before I start my watercolor painting. I will often do some small sketches of the subject, designing the major elements of the painting to be more evocative of the essence, more interesting as a image. I certainly enjoy this stage as I feel can apply my creativity and taste. The process is very important to create a complete image within me so that when I face to the performance of the watercolor I can be more certain and more confident.

5 I think watercolor in particular has a performance aspect and can liken it to a singer who memorized the music through study and repetition so that when they are on stage they are certain and confident and can project themselves into the music. Here is the image I took on a different day with my camera and then some of the sketches follow. Notice which changes were made 1. Shapes The biggest shapes we deal with in any landscape are the shapes of heaven and earth. In the case of this painting this division is very important. I am placing the horizon high in the vertical sheet so as to be able to paint long reflections in the fore ground.

6 Then the most impressive shapes in order of size are the old train station, followed by some cars and figures. There are of course other shapes such as the street itself, the distant buildings and trees which play a supporting role. 2. Eliminating I eliminate many of the cars- especially those with are parked, but that is about the extent of it. I also use only a few figures. A good rule of thumb is that you can say group with three. Showing more cars or more people in this case does not contribute to the over-all design. In fact to many may dilute the over all strength of the image 3. Adding I will add figures to the painting to give it more energy and interest. These figures also give me a chance to add color to a predominately grey painting. When placing figures many things are important. The should look a part of the painting - in other words not pasted down. They should have the proper scale and proportion, a skill which takes most of us years to develop, and the should appear to be in motion. Bodies angled legs akimbo, and avoid feet. Placing the feet often makes the figure feel stationary like a statue. I am also adding long reflections to the scene to make the pavement feel wet. 3. Values adjusted I adjust the values in the scene to meet my needs. My lights are minimal, some passages in the road and on the figures, The majority of my tones will be dark mid tones. The darks I use will be very dark and reserved for accents, reflections.

7 Some quick studies These studies take all of 15 minutes to do and along the way decisions are formulated that will serve as a base in creating the larger finished watercolor. I learned that I should keep the distant tones distinct but on the lighter side. I finally settle on the one above as a value pattern and use it as a reference while painting.

8 Drawing in the basic shapes The first lines on the paper serve to mark out the major shapes and directionals. In this painting more drawing is needed and helpful. I have many man made objects cars, and buildings in the painting and a degree of precision is helpful. I do leave the trees very sketchy and draw no marks for the reflections - I know where they will go. Making a plan The formulating of a plan of attack is essential in watercolor. It is a flexible plan of course but very helpful to go through the stages in your mind envisioning difficulties before they happen. Doing these demonstrations and teaching have helped me tremendously because it has forced me to vocalize my plan before starting. I recommend you try it. If you have a pet or a plant describe to them what you are going to do and why before you move to the painting. In todays painting I will start with a medium strength wash to the sky - all the way down to the level of my main characters. This wash is primarily to subdue the white of the paper so that any whites I choose to leave will feel brighter. Such as the umbrella of windshield. Medium strength tones will follow in the tress, the station itself, and into the cars and people.strong darks will appear where they will be most useful, under the car to make the red glow even more. Defining the edge of the building, within the figures to make them appear,

9 Performing the watercolor Just that - I have planned and practiced, and internalized my image. One shot now to paint it. The painting that follows is one done at the studio - although the demo came out better. Maybe pressure helps! Here are the steps 1. Lay in the First pale wash. Here I try to knock out much of the white paper. Thinking of a warm gray in the sky.

10 2. After the wash has dried, room temperature to the touch I make an approach from the distant buildings and shaping the road - then I extend that gray into the trees adding some darker grays to it ass it is drying. Then i come to the big station and cool down the gray and darken it at the same time.i cary this wash through the whole roof and while it is drying I add some water to get a streaky appearance.

11 3..I work under the building and around the main figure and into the cars with even darker grays adding some reds and blues as I go. I continue to finish this area buying small figures crossing the street causing the cars to stop.

12 4. At last I can add the fore ground I start with water to the whole page and then start dropping cool grays of medium strength to the pavement. I let the watercolor paint it self watching the color drizzle down in beautiful patters. I has an abstract quality which tells me to leave it alone. I drop in bright red tail lights and corresponding reflections to seal the deal. Lastly I add the figure crossing the street into traffic while looking into his cell phone. Honk Honk wake up man!!

13 Reflection I try to avoid judging the painting right after it is done, rather I will look at it again a day or two later. I find that I see it afresh and am much less critical. I will remind myself of the points where I succeeded also make note of areas that I feel could have been done better, or simply differently. It is important to reflect and if inspired move quickly to paint the scene again. Epilogue though this weather presents its challenges, it offers plenty of rewards to those with gumption enough to walk and sketch. Back in the studio we can recreate the sensations that rain gives us. Parting words for the watercolorist from Ed Whitney, A Fine watercolor is a by-product. The objective is a state of being. The state of being, degree of concentration, forgetfulness of self can best be exemplified by the word Empathy. Empathy is a one word definition of what an artist is. His/ her essence.