White watercolour vs while gouache

For most watercolour associations, the use of white paint (ex. Chinese White) or gouache, because they are opaque, disqualifies a painting from shows.  White areas are typically created by leaving areas of clean, untouched paper. This technique produces a white that has the cleanest and has the greatest contrast that can’t be reproduced with opaque paint. The use of white paint or gouache will remain controversial technique in watercolor painting for a long time.

Aside from that rule that some watercolour associations have, there is no right or wrong answer to a question about using white paint or gouache to solve your artistic dilemmas.  Some people use the touch of opaque white for things such as  highlights on eyes or petals, whiskers, etc.  Others use it extensively for various effects.  You must experiment to find out what you like.

If you want to use opaque white as an accent, which one do you prefer? Gouache is a little more fluid than watercolour and appears matte.  Chinese White is more transparent (or less opaque) and tonally weaker than white gouache, which has stronger covering power because of it’s opacity. If you're using Chinese White to cover a darker colour multiple layers will be required.

If you are interested in knowing more about gouache, check out this page:  http://www.handprint.com/HP/WCL/pigmt7.html

Today's feature artist is Cheryl Johnson:

See you in two weeks,
Danielle

Workshop with Lian Quan Zhen (Part II)

This is a continuation of the previous blog (http://arttutormembers.blogspot.ca/2016/08/workshop-with-lian-quan-zhen.html)

I have to admit that when I first saw Lian's method, it looked completely random.  It was quickly obviously he has a well planned technique.  Lian has mastered this method and he knows precisely where to place the lights and darks to develop them into a magnificent end result.

After the paint dried, we removed the masking fluid from the areas in the water. We then started painting the rocks. There were many tips for painting rocks and I wish he had a video just on rocks.

The technical set up was quite interested. There was a big monitor with a camera mounted from the top . This meant that participants  had a close-up view of Lian painting. Often time, he used the camera to zoom in on some details.  

Here was Lian's final painting from that workhop.

Attending a Lian Quan workshop is a valuable experience. If you have the opportunity, go with for it

Have a great week,

Danielle

Workshop with Lian Quan Zhen

This weekend I'm attending a workshop with Lian Quan Zhen.  After day one, I think he is a magician with watercolours.

Before painting anything, he has us prepare three small containers of paint: hansa yellow, antwerp blue and perylene red.

He works on setting the foundation one section of the painting at a time. First he uses his spray bottle and gives the area (working top to bottom) he will work on three squirts. He then loads his brush and shakes or taps dots of a color where he wants it. Then he does the same with another color. Each color has a brush dedicated to that color.  To mix the colours, there are 4 options: he either uses the spray bottle to mix the colours, uses his fingers to mix, uses a straw to move the paint or rarely uses his paint brush. Regardless of the option to mix the colours on the paper, he never goes in more than three times, e.g. three squirts with bottle.  By magic the colours mix and shapes start appearing.  

When the colours had been applied on all the paper it was time to add some darks. He often repeated that the dark had to have the consistency of clam chowder.  The dark, consisted of the blue and a touch of red, was flicked that into strategic areas.

For this workshop, he was painting a beautiful landscape with trees and rocks.

Once the paint has dried, he went it to apply some details.   A lot more details will be worked on tomorrow and I'll have more for my next post. Even with details, the limited number of brushstrokes he uses is quite impressive.

Throughout the day, he constantly repeated 'Paint what you want to see'.  This phrase has been etched in my mind.

I'm looking forward to seeing the continuation of the workshop tomorrow.

Here are a few of Lian Quan Zhen's paintings.

Have a great week,
Danielle

Not renewing Art Tutor membership

Last week my Art Tutor membership expired.  I went to renew it and noticed a significant increase in costs from last year.  Does anyone know why there is such an increase?

For the amount of time I spend on Art Tutor which is probably once or twice a month to check out the gallery and leave a few comments, it no longer makes sense for me to renew at these new costs. 

I joined the week Art Tutor began, so I'm sad to be leaving. Someday when I retire I might join up again to try the pastel and other lessons.

This online service has much to offer artists and I will continue to recommend it to anyone asking me for resources to learn how to paint.

Anybody wishing to get a hold of me for ideas or articles can always reach me here - dbeaul0155@rogers.com or through comments below.

Today's artist find is Elke Memmler,

See you in two weeks
Danielle