Advancing with Watercolor

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Jacob McKenzie
5 years ago
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1 Advancing with Watercolor The Big Mid Value Barges on the Seine

2 Recap Lets revisit tonal values and remember some of the terms and meanings. When we are talking of tonal values related to painting we are talking about light and dark - even though we are aware of the colors within the motif we are analyzing or seeking to perceive the lights, mid-value and darks of anyone subject. We created a grayscale is and understand how the grayscale simplifies the complexity of what our eyes perceive into a scale that our mind can work with.. Lets build on the idea of simplicity for in the end all of these exercises and drills are aimed at forming a simple direct approach to your subject. The Big Mid-Value After working with our grayscale we talked briefly about value ranges - that is grouping of similar values into a range. Thus we simplify our grayscale into three value ranges. I would like to focus on this idea today - in fact work with the idea of the mid-value and how it applies to building a picture. Finding the mid value Finding the Big Mid Value is much like finding the Big Shape and many times they are the same. Artists squint their eyes to perceive the more important shapes and simplicity in tonal values within their motif. They work to join smaller shapes into larger masses, and they work to join areas of similar values into a larger single value. This is an early but important first step in seeing the simple structure of any subject. The Light Values, the Dark Values which are usually smaller shapes, and the Big Mid Value which is everything else. In fact

3 the mid value occupies a higher percentage of the painting while lights and darks a smaller percentage.the challenge then becomes in identifying the general tonality of the Big Mid Value and establishing it in relation to the smaller lights and darks. Building the mid-value and big shape together Many times the Big Mid Value lies in the Big shape - and such is the case today with our sunlit scene of the First light striking the Grand Tetons. If we squint our eyes we cans see that the lower 2-thirds of the image is very close in tonality.whereas the upper third has areas of contrast where light meet shadow. This is an ideal area for our center of interest. As an exercise I recommend that you do a small value study of this subject as a warm up. After doing the drawing mix up a puddle of the Big Mid Value and paint the Big Shape with this value.after this dries will will add smaller light areas in the sky and some darks in the lower sections Lest look at some other examples Smaller light values and smaller dark values While the big Mid Value works to set the tone of the painting the light shapes and dark shapes are even more important in communication the subject and the mood. The lights and darks are typically in smaller proportion to the mid-tone and through the their placement side by side, generate tonal contrast. Tonal contrast is the best most effective means to guide the eye and define your subject. Light tones - or for the watercolorist the white of the paper plays a very important role also. Case in point: The small light mid-tone against a light appears with greater resonance than a small dark against the mid-tone. See example below Light against Mid-Tone Dark against Mid-Tone

4 The two subjects done of Pienza reflect this simplification in tone.. Light against a mid tone. In creating this image I sought to focus on the light shape of the main figures walking through the shadows of Pienza. The BIG mid-tone is the joined shape of the building on the left connected to the cast shadow riding up the building on the right hand side. Isolated in this somewhat dark mid-tone are the tops of the figures.. This is painting to be perceived on first glance. The darks within the mid-tone in this case windows signage, and doorways are perceived more gradually after the eye has focused on the painting for a minute. The smaller lights - as other figures appear slowly as well. The second example is similar in its simplicity but is a different arrangement. This is an example of a large mid-tone (foreground, rightist building, and shadows under the colonnade). The smaller light tone is the bright areas behind the figures, the dark are the figures in the spotlight as it were. Simplifying is not the end of the process - adding to or dividing that simplicity while keeping a measure of its integrity are constant challenges to the artist.

Looking for the mid-value in Pienza I start the painting with a few thoughts, I want to give a dramatic representation of the light under the archways and portray the classic architecture as a result

- I paint the loggia in a warm light wash to give myself the bigger shapes in the painting and their connections to each other. This process makes it easier to nest the smaller shapes for effect.

5 Looking for the mid-value in Pienza I start the painting with a few thoughts, I want to give a dramatic representation of the light under the archways and portray the classic architecture as a result of this light. To this end I start by thinking where I will use the white of the paper. - I paint the loggia in a warm light wash to give myself the bigger shapes in the painting and their connections to each other. This process makes it easier to nest the smaller shapes for effect. I move directly to the big mid-tone a b sienna followed by some ult blue while still wet. I begin on the right and move to the right as I feel I can correct the rightist should I miss judge. I use this tone to isolate the lights of the columns and the light shapes on the far wall. I will later joing the fore ground and right side building with a similar tone.

right side and extend that tone into figures seated against the building.

6 This passage is challenging as I continually have to think of interesting brushstrokes and how they with define the shadows and the columns in the in front at the same time I join the right side and extend that tone into figures seated against the building. - I prepare for the foreground with a bit more blue and a wash of water in the columns to achieve softer edges.

7 Interesting to see the painting at this stage as you cans see that big mid value and how its connected through a variety of shapes. This will remain a strength in the painting - a foundation that may be divided, augmented and still keep its integrity. Now the main figures are placed onto the stage.they will appear against white paper with hard edges and bright color. Perhaps you see the similarity to theater in this painting and its use of a spotlight effect.

make the relief in some of the architecture come out a little more

8 Details are added into the shadows to make them feel more transparent - Also touches in the form of single brush strokes to make the relief in some of the architecture come out a little more Some details to the foreground and building bring the finish to the painting

9 Though the tonal structure may be more sublime, the foundation of this painting was a small light in a large dark mid tone. This simple thought process is one important key to seeing your subject in simple terms. These simple terms make it manageable and still provide for creative interpretation in technique. It requires training become part of your working process.

Advancing with Watercolor

Advancing with Watercolor Working with Edges Shimmering Water ADVANCING IN WATERCOLOR - EDGES 1 Introduction to Edges When I speak of edges I am talking about the edges of shapes we create in the painting