Friday, February 19, 2010

Creating Shapes in Landscape Paintings Part 3 of 11 with Andy Braitman -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff

What I'm doing now is I'm taking this larger shape and I'm going to break it into smaller shapes. Turning the land so I'm looking down at this steeper angle and as that land gets closer to my eye line it turns another way.

That makes the vertical height of that land smaller. I'm finding larger and smaller horizontal bands that have a color shift that let me eventually pull in my vertical trees that will adorn that land.

So then I put in my neutral green. Everything in one direction is going to have more yellow to it and everything in the other direction will have more blue to it to give me my sense of distance.

I just pick one of the middle shapes to help me find that middle green. So once I've found that middle green I'm now going to use my knife to scratch in these shapes. I make sure I'm diminishing in size each time.

First thing I'll do is take that middle green and mix a series of colors that are warmer and mix a series of colors that are cooler and lighter, warmer and more saturated. I may get all the way into the oranges down here.

I'm actually getting so yellow that I'm adding red. And getting so blue that I could maybe even get into the purples.

For right now I'm going to step to the palette and mix up some colors. First thing I do is take my large scraper and pull all of this other color out out of the way so I have the capacity to mix.

I'd like you to see this process of mixing the mixed black. That's an important process. It's usually one of the first things I warm up with.

I take this ultra marine blue, the one I find the prettiest is called Utrecht. It's a really good student grade and I use the Utrecht paints for both my burnt sienna and my ultra marine blue.

This is where I mix my mixed black. I do that because they're student grade, really heavily loaded, they're good quality paint. You can see its got a nice impasto quality, without any medium to it it really stands up nicely.

I'm mixing this up and thinning it out and making sure I have enough blue and enough brown to get me a dead neutral black.

That's going to be the base of the mixing greens. I'm going to slow this down so you can see how I do that. It's a real process. I use the back of the knife to gather the paint and smooth it down rather than using the top of the knife which makes it difficult to clean.

I've got a good neutral black that I'll skip off to the side. Just so you can see the color I'll put a little yellow into this. You can see it's a really usable green, it doesn't have to be augmented too much. If I want to warm it up or brighten it up I'll add more yellow.

If I want to warm it up even more I'll add a redder yellow. So here's the mixed black with cad yellow medium and here's the mixed black with the indian yellow.

Now we're looking at two greens, a warmer green with more of the indian yellow and also the cad yellow medium. This is the same mixed black with a little bit of this lemon and that's going to make a beautiful lighter green.

I want my lighter green to be closer to my permanent green light. I'm going to try to get a little more fallow into this color to cool it off a little more. I'm mkaing a progression from that permanent green light into almost an orange.

So I've got a nice transition here. I've got to get the transition the other way also. I'm going to add some ultra marine blue and some mixed gray with the permanent green light.

I want that to be greener so I'm going to warm it up a little bit. I'm going to need one more color and that's a fallow and that mixed black and a little lemon and some white.

It's almost a teal. That's not quite getting it so I'm going to throw on a little emerald. Now I've got my palette mixed and and it's literally now paint my number.

I've given myself my wedges. I've given myself my transition and I'm going to start with my farthest back color and move forward letting my brush size increase. I'm going to go against the shapes.

The farthest back color is somewhere in here on this band. I'm going to get a little darker and purer as I come forward. I'm doing it right on top of the wet paint so that I have a mixture of color rather than having a solid mass.

I tend to scoop the paint up. This is a little screwy but I actually have a tendency to mix the paint on my right foot and paint on my left foot. Don't even ask why, but I think that adds a sense of athleticism to what's going on. I'm naturally not an athlete so that makes me feel good.

The shapes get a little bigger, more aggressive. Finally I end up here, don't know if I can pull this color off but I'll try. It's not quite what I wanted so I'll add more orange. Now I'm going to stand back and look at the color transition. It's good