Friday, February 19, 2010

Defining Color Masses Part 5 of 11 with Andy Braitman

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Now we're ready for the second stage of the painting. This canvas is just about where the first one was finished.

I've got everything laid in here except the purple that was here. But I've got my ratios, banding, and large dark mass established. That's about all I wanted to do on that first time before it got too wet to go to the next stage.

I'm going to try and find the transition of color and I'm going to do that on the palette and touch it to the canvas to see if I've got a sense of the beauty I'm looking for.

I've mixed up a series of greens and blues that will work for this back mass. I'm going to add a little liquid to them and this can be different liquids.

This is a copal painting medium, you don't need much of it. We make our own medium here as well, it's got a lavendar base instead of the petroleum base. You can see it's a little prettier and has a nice amber color.

I'm going to take the knife and touch these colors in to see if they do the job I want them to do. I'm going to go from that ultra marine through a little bit of that violet and see if I can get into this fallow down here.

So I'll take a little bit of that medium and put it into each of these piles, not a lot just as much as sticks to my knife. I'll start at the top most edge.

The shape of that hill is in this specific direction so I'm going to go against that edge shape.

I want you to see how I'm holding this brush. I'm pushing the paint into that surface with almost a sweeping motion so I can let some of that green come through.

I'm going to shape it in such a way so that it's a little more interesting than just a flat edge. I'm also going to block it in.

I'm starting to be more deliberate now because I've got a good base and now I'm trying to make pretty.

I want each of my brush strokes to stand out a little more distinctly. In the first stage I was just blocking in color and scrubbing it in where you don't see distinct brush stokes. Here I'm trying to let each of these color shifts be a little more obvious.

The idea is that I'm going to start to make what was a simple block of color shimmer a little bit more. I'm going to shift from one color to another so that I have a sense of that beauty.

Now I'm going to put that green back on top. I'm not going to move this line much, I'm trying to go against it to soften it up. I want to keep the brush stokes distinct. It's interesting as I push it in more what was a pretty stoke then becomes ugly. I have to make certain that I don't overwork this.

The first time through the rough surface was giving me a problem, I couldn't get enough paint on. The second time through that rough surface is softer and it's letting these colors soften up nicely. The transitions are much more attractive with that on there.

It's a little harder for me to speak when I'm working this hard. That sounds strange but usually when I'm working fast I can talk.

I'm not looking at what I'm painting, I'm looking at where I've painted.

I'm going to take a little more medium now and my white and my water color which is going to be orange. The edge of that far bank is a horizontal direction so I'm going to make sure I'm painting that water in vertically.

I'm going to make sure it references the sky so without diluting it I'm going to put a little bit of the sky color in here.

I'm still going against the grain of that first stroke. I'm tempted to try one or two horizontal strokes on that first layer to help break up some of that paint.

I want you to notice how I'm changing the angle of my brush. It goes from being held perpendicular to the canvas to a much more dry brush angle. It's almost horizontal to the surface, the brush is not sticking out at all. I'm letting the paint get pulled off.

I'm going to pull that light down a little more and clean up this edge to be a more interesting and exciting edge. As the painting is going back in distance I'm going to let the mountain and the water kind of join together.

That means making the water green or the mountain red. I think I'm going to kind of let it happen and see. Just soften those edges a little bit so we're not quite certain where one ends and the other begins.

I'm still seeing a little abruptness here in the tree mass but for the first coat that's OK.

I'll probably play with the sky next. This is a unique color, it's an azo burnt orange and the only place I've found it is by a Brooklyn paint maker by the name of Robert Doak.

This color is a little strong so I'm going to lighten it with white. I'm using only drops of the medium. I'm not really making it very fluid because I want these brush strokes to stand out and be more distinct.