Friday, February 19, 2010

Creating and Painting Land Shapes Part 6 of 11 with Andy Braitman -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff

I'm going to scoop this paint up and clean my palette. Then I'm going to start that banding process. I've got the greens out but I'll need to mix some more black up.

That sky looks pretty dark, I may lighten that up after it dries. Just like this tree mass, if I can do more layers rather than fewer layers it will make that shape more interesting.

The mixed black is the base for those greens so we want to make sure we have enough. I'm going to start with my coolest green which is going to be a combination of my mixed black, my fallow blue, a little bit of white and a touch of that cad lemon.

I'm actually using our sky color to mix into that green because I want to keep it nice and cool. I'm going to hold it up to the painting and see if I have the right value. It's about the color of the tree mass but a darker value so that's going to jump us across the water.

I've just got to trust my own fishing time on the water more than the photograph here I think. In order to see this better I'm going to take that mixed green from before and warm it up just a touch.

Take that same brush and make small little bands. What I'm doing is beginning to find the way this goes. I'm using much smaller strokes and more paint.

You can really see I'm spending a lot more time mixing the right color for each of these. I'm mixing a color for a wedge and then in a creative and descriptive way I'm going to put the paint down.

I'm really looking at the land and making certain that I see these edges properly. Usually the tailing edge of the shape is a little crisper than the leading edge. I'm going to crispen up the tailing edge of that shape and soften up the leading edge.

It's a little early for me to worry about that too much right now but I am conscious of it so in the process of laying down these bands I'm going to try and start with the tip of the brush at the top edge of the shape to make this edge crisper.

I'm doing a complicated thing, I'm making the shapes come down but I'm also making them open up so they taper and widen as they go towards the ground.In this case we're going to widen this shape out and let it thin up as it goes away from us.

They call these landscapes because what I'm doing now is really 'scaping the land. I'm making sure these land masses are going back.

What happens to trees as they bend in and out of the light. What happens to these masses, these ground patterns, as they shift away. These patterns are going to let you be more creative with your color choices.

So what I'm doing now is just really finding the tailing edge of this shape and I'm going to soften it up. As I'm getting closer to my feet I want to start paying attention to the middle of these masses.

I'm going to orange up these colors just a little bit. Just as I used this permanent green light as the base for where I'm going to cool and warm, I'm going to find the center of this mass and get the warmest color I can.

I'm going to mix the pink and yellow together and block in this color here. Once I've gotten this center in I'm just going to lose this transition to the back and open it up toward the front.

If I'm lucky I can get even orangier. These are bigger shapes so I'm able to be a little more aggressive with my paint application. I'm going to stand back and take a look.

I've got a good sense of this flow but I don't have a good sense of it flowing down this way yet. At this point, I'll come back and start to lay in some sense of this diminished so we're having more of this opening up and tumbling into the water rather than sliding in gently.

I want this to come down pretty aggressively so I'm going to work along this edge and get this shape to slide into the water more. The reason I'm doing that is so that our eye comes up at an angle looking more this way. We're going to have this transition that goes from a 45 degree angle to almost flat.