In this watercolor, one of my plein air paintings I entered in Plein Air Rockies, I tried to vary the many greens in nature by 1. subtly adding other colors in with the greens and 2. varying the green mixtures as I was discussing in my last post by mixing some cooler blue-greens as well as warmer yellow-greens. (Click to enlarge the painting so you can better see the violets in the background as well as the variety in the warm and cool greens).
I hope you’ve enjoyed this post. Remember, practice, practice, practice and experiment. I keep scraps of watercolor paper close by to experiment with placing one color over another and also next to it and letting it “merge.”
Don’t forget the Southwestern Watercolor Society’s 53rd Annual Juried Membership Exhibition if you’re in or near the Dallas area. It’s August 31 – September 24 at the Eisemann Center in Richardson, Texas, and is always a good show to see. The juror is Stan Miller, AWS.
Since greens are “in” now, I thought I’d discuss a little about them, since everyone seems to have trouble with them. Aspen trees have cooler green foliage than most other trees, so I usually mix greens using a cool blue like cerulean blue with any yellow (usually a cool one) plus a TOUCH of cool red (this always grays the green just slightly to make the green more believable and natural). Notice the dark greens in the foliage “weave” through in a sideways S shape from the right of the largest aspen up to the top of the second largest aspen. This keeps the darks connected in a good shape and they don’t appear spotty. You can add other darks here and there, but always have a large, connected shape first. Click on the image to enlarge it.
If you are painting in watercolor, the same advice holds and, of course, you would also use more water to lighten the sunlit parts of the foliage. My next blog will cover greens in watercolor.
I’m teaching a three-day intermediate oil workshop at Artists’ Showplace Gallery in Dallas, TX, on January 24-26, 2017, “Back to Basics – the roots of successful painting and how to infuse light into your landscapes.” We will cover lots of light and atmospheric effects to add to your work, which I think are very important aspects of having a painting “stand out from the crowd.” The cost is $285 for the three days and see my web site under “Exhibits and Events” for more information: www.cecyturner.com or go to Artists’ Showplace web site.
I hope you’ve enjoyed this blog post, and stay tuned for the next post about handling these darn summer greens in watercolor!
Adding shadows in snow can be a problem because many people tend to paint them too dark and there is too much of a contrast with the white snow. A lot of times in photographs shadows come out much too blue, dark and vivid. Mostly, this is the camera’s fault, so we really need to observe when we are out there (brrr…) and see how much light is really in the shadows.
Also, remember to connect your shadows in backlit situations so they won’t appear like stripes on the snow. Don’t be afraid to mess them up a little, because they do have to go over bumps, rocks, depressions in the snow, etc.
“It’s Snow Time” was painted en plein air in Rocky Mountain National Park in March. It was one of the only sunny and non-windy days I tried to paint! Be sure to click on the painting to enlarge it a bit. This painting was juried into the Plein Air Artists Colorado Annual Exhibit at Mary Williams Fine Arts, Boulder, CO, September 1-30, if you’re in the area.
Thanks for looking at my blog and I hope you’ve enjoyed it. Tell a friend about it – they can email me to be alerted when I add a new post: firstname.lastname@example.org. Happy Painting!
In my previous post, I showed a C curve that connected the aspen foliage. In the above watercolor, I used a subtle S curve to connect the foliage immediately surrounding the main large tree ion the right. You can see it if you start at the leaves at the top middle of the painting, follow it down diagonally to the right to the “duller” foliage, back diagonally to the left, and down to the right, where it ends up in front of the main tree. This, in effect, is an S curve.
Be sure to click on “Golden Glow” to enlarge it. I painted it as a demonstration for the Richardson Civic Art Society in Richardson, Texas, in January and then put finishing touches on it back in my studio. This painting will be included in the 31st Annual Texas and Neighbors Regional Art Exhibition at the Irving Arts Center, 3333 N. MacArthur, Irving, TX, from April 16th – May 14th. Judge Soon Warren chose 80 out of 499 entries, so I’m very honored to have my painting included.
Hope you’ve enjoyed this post. Be sure to tell a friend to email me if they would like to receive notification of posts on An Aspen A Day.
The foliage in “Fall at Its Best” might seem random or even “like it was” in nature…but it’s not. Rarely when I’m doing an aspen painting on location is the foliage in any kind of design that holds together. It’s usually “all over the place,” so I have to force it into some kind of design. We’ve discussed good shapes before, but how do we connect those shapes?
The C curve leads around from the middle section of the painting to the top. This is just one of many ways to do it. Stay tuned! And, don’t forget to click on the painting to enlarge. And…Have a Happy New Year! I hope you’ve enjoyed this post. See more aspen trees on my web site, www.cecyturner.com.
How Do I Add an Animal Into an Aspen Tree Painting?
Adding an animal from another photograph into an aspen tree painting can be tricky because you want to be sure the animal is in proportion to what is around him. The ideal situation would be to have the photograph of the animal already positioned where you want him in the aspens, but this isn’t always possible!
Then, and this is the hard part, scale your animal photo up or down to a size you think would fit – I do this by drawing a “box” around the outer edges of the animal and then making the box smaller or larger IN PROPORTION TO THE ORIGINAL BOX and sketching the animal in the new box to try. Then, I cut out the animal with scissors and stick him among the trees to see if he looks the correct size. That is just what I did in “Safe Haven,” above. Be sure to click on the image to enlarge the painting. You can move the animal around to see where he looks the best and makes the most interesting composition.
“Painting is not easy – if it were, everyone would be doing it.” (I forgot who said that, but I think it’s a very good quote). Sometimes we have to stretch, and stretching is good for us! Finding other artists’ work in art magazines is great to use as a jumping off point – for instance, the relative size of their animals in relation to trees around them.
I hope you’ve enjoyed this post, and I will be posting more often now that I’m not out there painting aspens every day (for a while).
Save the date! November 14th from 5-8 p.m. is my Annual Open Studio. See my web site www.cecyturner.com under Exhibits for details!
Cover the three large aspen shapes with your fingers and see what is lost in this painting! Without the large shapes in the foreground, you lose a lot of depth and interest in the painting. Also, the warm yellow helps to contrast against the cool gray greens of the distant pines on the mountain and the gray mountains. Click on it to enlarge and notice the soft edges on the yellow foliage. Tree foliage does not have hard edges, unless you want it very close-up and to show individual leaves. Even in this case, you would want to paint most of it softened and be selective about bringing out too many hard edges.
The zig-zag pattern of the yellow grasses and bushes helps get from the foreground to the background. Notice how the yellows in the distant part of the zig zag are not as intense as the foreground portion. The ground is also warmer in the foreground than in the distance. Think!
“Autumn Attire Near Fish Creek Road” was juried into the Plein Air Artists Colorado exhibition at Mary Williams Fine Arts in Boulder, CO. www.marywilliamsfinearts.com
I hope you’ve enjoyed this post, and feel free to tell your friends to email me if they would like notifications of new posts: email@example.com
In this demonstration I painted for the Irving Art Association in Irving, Texas, I showed how to soften the foliage behind the tree on the left in order to leave the foliage near the tree on the right, my star, more distinct. In order to do this, I didn’t soften the edges with a damp brush after I applied the paint; instead, I started at the top and tried to paint the sky and the foliage at the same time in order to have them “mingle” a little in the process.
This is a little difficult to do, more so in watercolor than in oils, because you have to be a magician and juggle several things at once before your paper dries on you! It takes practice – applying the sky color, then the foliage color while the sky is still wet – and at the same time, not getting any paint on the white aspens where you don’t want it! The paper can’t be TOO wet, or your sky and leaves will totally run together. Practice, practice, practice. It’s so rewarding when you get the effect you want in watercolor.
This watercolor recently won First Place in the Associated Creative Artists Annual Awards Exhibit in Dallas!
Thank you for reading my blog, and I hope it was helpful. Tell a friend to email me at firstname.lastname@example.org to receive notifications of new posts! Check out my web site, www.cecyturner.com, to view more of my new work.
How do I use shapes to point the viewer where I want him or her to look?
In “Summer Glow” I rearranged some logs that were there (and eliminated the ones I didn’t need) to “point” the viewer into the painting. There is no way the viewer can’t to into my picture with these strong “pointers” in the foreground! Click on the image to enlarge.
Be sure the shapes you add as “pointers” don’t actually take you OUT of the foreground at the bottom of the painting! I tried to prevent this from happening, which would defeat the purpose, by putting my logs in shadow closest to the viewer, then having them come out into the light as they “point” into the painting. Strong lights at the bottom of the painting would lead to the bottom of the painting, not to the aspen trees.
I hope you’ve enjoyed this post and will visit my web site, www.cecyturner.com to see the eight new paintings I’ve added under Plein Air Studies and under Landscapes.
In order to make the center of interest aspen stand out, I made its foliage the brightest, and this meant that the foliage of the other aspens had to be dulled down a little, or put partially in shadow. I hate using the word “dull” or “gray” when it applies to yellow aspen leaves, so how do I keep them bright and clean while dulling them? First I take a color I use in the bright yellows, for instance cadmium yellow medium, and add touches of the other two primaries – in this case, alizarin crimson for the red, and either cerulean or cobalt blue for the blue. Using touches of the last two primaries darkens the yellow while keeping it clear and doesn’t muddy it. (Click on the image to enlarge it).
When I dull down the aspen foliage, notice that I didn’t use any white! I want to keep it in shadow. If it gets too dark, I add more yellow. Some people seem to stick white in everything, thereby cooling the mixture and sometimes making it chalky looking. Use as little white as possible!
Thanks for reading my blog, and feel free to pass it along.
“Autumn in Bloom” will be on display at the Panhandle-Plains Invitational Western Art Show and Sale at the Panhandle-Plains Historical Museum in Canyon, TX, from March 7th – 28th, 2015.