Image result for drawing objects in white box

Seeing tone takes practice. Set up  a few objects in a box. Spray paint the entire box and content white. Place a lamp light higher then the box. Look at how the light falls on all the objects in the box  and creates shadows.  Draw the shapes of the objects using 2B pencil. Keep in mind where is the cast shadow. This  will help you to create the 3D shape. Then add in the shadows of the shapes.

By doing this exercise will help you to learn how tone creates three dimensional shapes.

Image result for drawing objects in white box


Light and Shadow


Drawing expressive communication using shape, such as squares, circles and triangles with volume through form into realistic three-dimensional cube, sphere and cone objects. Through drawing exercises and practicing this method 2D and 3 D will help you master this technique.
Create a three-value tone key for light, middle and dark values to help identify shape, light, and shadow. Block in the composition, and use glazes of color to play with light and shadow. This will teach you to realistically capture reflections, bouncing light, various shadow and unique color combinations to help you work come alive.

Poland rain


street car scene

Trying a new surface brings an entire new experience to your watercolor painting. Gesso a heavier paper or prime a board that is highly non-absorbent will alter the way you work and achieving a quite different result.
Gesso is a sizing that will seal the painting surface, making it non-absorbent. Gesso is commonly used as a ground for oil, egg tempera and acrylic painting. Using gesso for watercolors is very unusual. Gesso boards are available if you do not want to gesso the surface yourself. I want you to keep in mind that gesso a heavier drawing paper to see why you can accomplish.
When you use watercolor paint on watercolor paper the washes absorb and spread . This technique will not happen when you gesso the paper. It will take more time to dry when using gesso because the water needs to evaporate. This will give you more time to push the paint around the surface. When dried you receive a crisp hard edge and the colors will dry darker.
When painting on a gesso surface you will have to mix your colors ahead of time because washes will not be able to be overlaid. There is an advantage to this technique since now nstead of going from light to dark you can work dark to light.
Errors can be corrected where before watercolor is not a forgiving medium.
Gesso will allow you to create texture to your painting.
If you choose to draw your image before painting use a hard pencil, such as a 6H.


value study farm house

Before you start a painting work a value study. A value study helps you resolve problems before you start the main painting. This study illustrates the shapes that will make up the paintings composition and will also give you a blue print to the value of every shape from 1 (the white paper) to 5 (the darkest dark). When drawing a value study use a soft pencil such as a 4B or 6B to produce the values. The medium of pencil is the nearest to a transparent watercolor as pencil is a transparent medium too. You could also work a value study with gouache paint utilizing white and black and mixing the greys in between. Generate the value study is identical to the order in which you will carry out the painting.

Pencil you can lift the marks of the pencil by erasing as like non-staining watercolor pigments after the painting is dry you could also lift up the color. Once I’m satisfied with the value study, I have a familiar with the subject and can concentrate on my color scheme after I have my composition drawn on my watercolor paper. Working a few thumbnail sketches with different lighting directions is very helpful on working a final composition.
A very important question is “How do you transfer the sketch to the watercolor paper?” When you have a competed drawing that you want to paint I use a Xerox copier to enlarge to the size I want and transfer the drawing to my paper using tracing paper. On site I might just start directly with paint this depends on the subject of the piece and I prefer working loosely instead of tight. If the composition is complicated, I will draw lightly with pencil directly on the paper to indicate major shapes of the composition.

value study trees

Creating Art on Site

Venice Bridges17

  • Start by studying the subject thoroughly
  • A good foundation is essential
  • Composition needs to be well constructed
  • Simplify and draw shapes
  • Put down the colors and tones you see
  • Work quickly
  • Do not concentrate on one part but work the entire picture
  • For example let your brush go to all four corners
  • Your brush will pick up bits of color and carry them to other parts of your image
  • Enjoy working the composition, it will show through in the final image

Under Painting


Under painting is a useful resolution by indicating the value and color tones of the scene. It’s merely a easy block-in, giving the artist a layout of how the tones work together. This is just another way of working out the color and value scheme of the painting. This lesson would work well with oils and pastels. The under painting becomes a creative opportunity to indicate texture, atmosphere, rhythm, harmony, and emotion. In your final completion of the work a good part of the under painting may show through providing a relationship and further aspect to the final painting.


Timeless Rosary Cover

  • Learn how to do the research and analysis
  • develop your style and build your portfolio
  • visual vocabulary is important in exploring the basic concept
  • A foundation an  extension of skills
  • Surfaces and surface treatments how they differ
  • When you are working on a piece and you become visually blocked do not stop working move on to a another project
  • Verbal techniques are just as important as visual technique
  • Discover path that will lead you to become a better artist



Paris Streetscene


Quality of the watercolor paper, brushes and paints you use will be important but the other ingredient is water.
Water allows watercolor pigments to flow and create beautiful wet on wet channels that can lead to brilliant works of art. The consistency will make a unique difference of your watercolor mixes (the water to pigment ratio).

When working with a dry brush technique effect or a range of soft wet on wet deciding how much water takes practice. For example, the water in your watercolor paint washes will begin to evaporate and this will affect what happens on the surface of your paper differently than wet on wet.

If you want more control without your pigment bleeding in areas of your composition then you may need to wait a little time till the paper surface is dryer or you can add more pigment and less water to your paint mixture.

When becoming more experience with watercolors you might like to try this wait even longer until the paper is just damp. This stage is dangerous as any unintended drop of water to your paper or a very wet brush stroke will disturb the paint that is already down. If you wait long enough you risk re-dissolving the underlying watercolor paint.

Wait until the paper is totally dry you can lay another glaze over the top of it to change its color and tone while still retaining watercolor’s beautiful transparent quality.

You will find painting you used to consider impossible more simple by mastering the use of water in your watercolor painting help you become a skillful watercolorist.

Cathedral in Milan


Subjects, Shadows, and Shapes

cast shadowIMG_3020

                             Drawing examples of Cast Shadow

Many subjects fascinate me as a foundation for my work. I am captivated with architecture especially European. Cafés and rainy weather also are appealing. The reason I stated European there is a romantic and dramatic feeling that intrigues my senses.
When I was in Ireland every where I turn there was a composition waiting to be drawn or painted. It was very magical! So many tones of green wonder why it is called Emerald City. Unlike Tuscany were it is so rustic looking with the landscapes lust tones of browns and reds. I try to capture the exquisite beauty of its romantic landscape within my studies and hope that my photographic references I have taken help me create the image I want to portray.
The creation for shadow and shapes also have been a fascination for artist throughout the ages. The cast shadow gives the piece a very dramatic feeling. This cast shadow is created on a form next to surface that is turned away from the source of light. When the form blocks the light, it causes a cast shadow to be formed.


October 2017
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