The Color Wash Method, Explained

"Bus Lane"

Oil on Linen, 16x20" 

Color Wash Method

Here are the medium recipes for the Color Wash Method, as learned from Ovanes Berberian and Brigitte Curt. Please note that either of these recipes create the same effect. 

Ovanes Berberian Color Wash Formula

- I have studied with Ovanes quite a bit over the years. In his workshops he taught us how to use this medium. This has a very special effect on a painting that I love.

You can lay in the under painting using many pure transparent pigments to create a glossy wash of color. You then paint with the opaque paint as the final layer.  See more about this below.

The formula:  He uses approximately 2 parts Damar Varnish, 3 parts Gum Turpentine, and .25 parts Linseed Oil. 

Brigitte Curt's Non-Toxic Color Wash Formula

- I've used this formula for years and I love the effect it has on my works of art. It is basically a less toxic version of the Ovanes' Formula.

The Recipe:  To make this varnish you need to buy Damar Resin Crystals. I order them from Blick by Eco House.  The Eco House brand works best with this Varnish. Also you will need to order the Terpene Solvent and Extra Mild Citrus Thinner from Eco House. (Also at the Blick website, but you may find them else ware.)

Start by poring the varnish crystals into a glass jar that has a lid.  (A mayo jar works well) Pour the Natural Orange Terpene Solvent on top and stir. Put the lid on. Continue to stir and mix a couple of times a day for a few days until the crystals are completely dissolved.

Now add the Extra Mild Citrus Thinner. Stir and store in an airtight container. Use more Thinner for a thin wash or less for a heavier varnish (will be more sticky and shiny).

(The amounts are approximate)

1 part Eco House Damar Resin Crystals

3-4 parts Eco House Natural Orange Terpene Solvent

3-4 parts Eco House Extra Mild Citrus Thinner

*note - lately I have substituted Gamblin Gamsol Odorless Mineral Spirits for the Extra Mild Citrus Thinner for a less smelly varnish.

Use either one of these recipes for the Color Wash Method that came originally from Ovanes Berberian:

• Paint your wash on a clean white canvas using transparent oil colors only, no opaque or semi-opaque paints.
• Start to very loosely block in large shapes of wash, beginning with your darks. Go a shade to two shades darker than you think you should.
• Always compare one color area to another- allow warms and cools within each color shape - keep the values the same in the same shape.
• Always compare the values to one another.
• Sometimes for color harmony you can use the complementary color.
• Lay in warm next to cool and cool next to warm.
• Think ahead about what opaque color will come on top of the wash.
• Stay flat with your wash and use the brush without modeling, an up an down motion.
• The values will be at least one shade darker than the final painting, but the relationships must work in relation to each other.
• Focus on accurate values and color temperatures.
• Use the palette knife to scrape an area if it gets too dark. This will allow the transparency to come through.
• The idea is to allow some of these beautiful transparent colors to show through the finished painting.

Below is a photo of the earlier stage of the painting as I was beginning to add the opaque colors on top of the transparent wash...

Here We Go!

It's official. If you have been considering a painting trip of a lifetime this might be the one. I'm working with a wonderful company, IlChiostro, and we have planned a week of painting the wonderful streets of Venice next year. I feel so grateful to be teaching oil painting and to have the opportunity to travel and teach. Read on!

OCTOBER 1ST-8TH 2016

http://www.ilchiostro.com/workshops/the-heart-of-venice-painting-plein-air-in-oil/

Ignite Your Creative Spark in the Fascinating City of Venice

One of the best reasons for an artist to travel is that the experience will most likely ignite a creative spark.  Imagine being surrounded by the beauty of the romantic city of Venice with paintbrushes in hand!

Venice is a great city of the world and it is pure enchantment.  Spend a whole week getting to know the back canals, wandering the quiet streets at dawn and feeling your way through the evening mist.  For centuries artists have come to Venice to try to capture its unique setting on the lagoon.

"Dreaming of Venice"
sold

The simplification of design & composition while learning to “see” like an artist will be our focus for the week. Randy will teach the participants how to interpret the magical surroundings of Venice in terms of paint, while at the same time focusing on the art of simplicity. In her teaching experience, learning to simplify what is in front of us is one of the most important fundamental elements of painting. The other focus will be values, shapes, color and capturing the lyrical patterns in the scene, as they relate to painting in the field.

There will be a brief demonstration each day and one-on-one advice in the field. Oil paint is the medium for this workshop. A complete informational sheet will be sent out with the supplies needed, as well as tips and tricks for traveling with your supplies.  Are you ready to pack your brushes?

General Activities:  Our daily painting in Venice will be combined with other adventures such as:

• A guided walking art history tour of Venice
• Visit to morning fish market
• Visit to selected outer islands in the lagoon (Burano)
• Selected evening activities such as visit to San Marco when the orchestras play
• Studio time to work on the compositions you started on location

Our first gathering will be an orientation at 6pm on the first Saturday followed by a dinner with the group.  After that, most activities for the week will be organized around the individual workshops but all participants will come together for meals and events like the guided walking tour of selected highlights of Venice. Then, at the end of the week the artists will stage an exhibit of their work to share their visual impressions of enigmatic Venice.

Accommodations: The week will be spent in the historic Dorsoduro area, away from the madness of San Marco. We will enjoy great accommodations in an ex-convent and traditional cuisine at local restaurants or prepared by our personal chef.  It will be an ideal place to improve  your painting skills while working to develop your personal style.  Click the Accommodations tab above for more information about the convent where we’ll stay.

Meals: During the week we will have 5 dinners together. To experience a good cross-section of typical Venetian cuisine we will sample diverse neighborhood trattorie and Michael and Linda will host our group for two home-cooked meals with ingredients we find at the outdoor market. Two nights of the week you will be on your own to follow your nose to restaurants or concerts or the opera or whatever else might pique your curiosity. There is plenty of time for independent exploration.  Breakfast is not served at the convent, so we will have vouchers for a typical Venetian breakfast at a local cafe.

Price: $2,495* p/p

Single room supplement – $450 (limited number available)
Non-painting partners/friends are always welcome.  Non participant fee is $2,195.

* Early Bird Special – $100 discount if registered by February 1, 2016

Price does not include:

• Airfare
• Lunch
• Independent meals and sight-seeing
• Museum entry fees
• Workshop materials
• Local transportation: vaporettos, water taxis

To Register:  just click on the Sign Up Now button.  A non-refundable deposit of $500 is required to secure your spot in the workshop.  Payment can be made on line with a credit card, or you can follow the instructions to send in your registration and payment by mail.  Once we receive your deposit we will send you a formal Registration Confirmation with further information about the program.  You will receive 2-3 other correspondences by email prior to the workshop with information about Italy, a supplies list and an electronic invoice for the balance.  Final Balance is due by September 1st.  Any time prior to your arrival, if you have questions about anything regarding the trip or the program, you can contact us by email or phone and we`ll be happy to assist you.

http://www.ilchiostro.com/workshops/the-heart-of-venice-painting-plein-air-in-oil/

Contact us for more information:  info@ilchiostro.com or speak to us live at 800-990-3506.

The Exploration of Painting....

New Painting - Lily's and Light
Oil on Linen     20x20x1.5"

When I first started painting and I was in the middle of studying other artists and their work, I noticed that (almost all of them), their work seemed to move into a more abstract style over the years.

I think it's true that, after you have a very good understanding and some experience with the fundamentals of painting, you can then go beyond the rules (I call them guidelines), and get out of your comfort zone as a way to develop your skills and creative imagination. This, in turn, will lead to better self expression in your paintings.

A good example of this is Dan McCaw. His was one of the first books I purchased, and I'm glad I did as it is and has been out of print for many years. (He is supposed to be in the middle of writing 2 more books). Anyway I will post some examples below:

The first painting is closer to the way he was painting 15 or 20 years ago. The second one is a more conservative example of the way he paints today.

You can see that even 20 years ago he was not a representational painter. But also you can see the obvious progression into a more abstract style. On his website he differentiates them by calling one traditional and contemporary.

Another good example is C.W.Mundy. I've had the privilege of working with C.W. and he is all about exploration, as is Dan. I also love painters like James Kroner. Very abstract. I love this!

Today I am enjoying this experience. Not that I am or will ever be where I want to be, but I do find it very freeing to get into a painting, put away the photograph, and play. The problem is that my brush wants to automatically go back to representation. So I have to stay very conscious of my effort.

Use new tools, try the palette knife, a rubber spatula or a roller! I think it's a great way to develop your skills and your imagination. You have to go over the top at first in order to get out of the rut, so go wild!

Doors Are Open....

Spring Snow at Squaw Mountain
Oil on Linen    30x36"

I've been home for a week from a family trip to London and Scotland. Both were beautiful. Now that I'm back in the studio I'm happy to be painting again. 

I am participating in the First Annual Truckee Open Artists Studio Tour this weekend. I started this piece a couple of months ago and allowed it to sit around the studio, and decided to finish it up for the Tour. 

Today, our first day, was a good day. I love meeting new people from out of town who love art. If you can, do try to come by. The tour dates are this weekend and next, on Friday, Saturday and Sunday from 10-5. 

I have a guest artist in the studio, Susan Bloom, who has some wonderful plein air pieces on the wall. We are both taking 25% off each painting we sell. A great deal. Also, come hungry, we have too much food and some wine too. A great way to spend the day, hmm?

Truckee Open Art Studio Tour Coming Up Next Month

I would like to invite you to make plans now for a visit to the first annual TOAST next month!

All original paintings will be discounted by 25% for the tour, and I will be putting together a bargain bin!

Meet Susan Bloom, a guest artist in my studio. 

We hope to see you on one of the weekends, July 17-19 and 24-26.....

How To Clean Your Brushes and Keep Them Like New

I promised a few people that I would re-post this blog so here goes.....

I use a product I found through my lovely plein air teacher, Brigitte Curt. This product is amazing. The best part is that it is ecologically safe and harmless to your brushes. It even gets out dried oil paint in your brushes and clothes. This means I don't have to make all my clothes into paint clothes, ha! I will tell you how to use it on your clothes and dried up brushes that you thought you'd have to throw away at the bottom of this post. But first, let's go through my procedure for regular brush cleaning.

I've also had some of my students tell me that Murphy's Oil Soap works very well and is available in most stores. 

Cover the bottom of a small bucket, can or jar with Brush Flush.

Now, dip your brush into the Brush Flush and get it saturated well.

Usually I've been using the same brushes all week, and I do clean them with mineral spirits, but to get them in good shape you need to remove all of the paint. 

Next, take a leftover kitchen sponge and wipe your brush into it, back and forth. You will be amazed how much paint is still in your brush.

Rinse, and repeat until the brush and suds are paint free. The soap suds will turn white.

Rinse with warm running water.

Then wipe to make sure all the paint is removed. Be gentle with your brush. Alway wipe away from the ferrel. 

Now your brush is clean. It might be stained, but the paint has been removed and your brush will last you! Wipe it dry, gently.

Lie flat on an absorbent surface.

After you have cleaned all your brushes, dip your fingers into the Brush Flush. Now wipe your brush with your fingers, shaping it.

Squeeze the tip, and the hairs will stick together and dry correctly.

Give them a day to dry in a sunny place if your can. If the paint is dry because you forgot to clean it at all, just saturate the brush hairs with the Brush Flush and let is set for a day, dip again, loosen into the soap and let it set again. When the hairs are nice and soft, follow the above directions.

If you have dried paint on your clothes, pour a little Brush Flush into the paint, scrub, and let set. Repeat until the paint loosens up. Then wash as unusual.

PLEASE NOTE

When you are in the middle of a painting and you are cleaning paint from your brushes, take care not to cram you brush into the mineral spirit can. 

BE GENTLE and swipe it back and forth inside the spirit can to remove the paint. NEVER push your brush into the can and never leave it in the can. The MS will dry out your bristles and make them brittle. 

When you take the brush out of the can after a few swipes, sop up the extra moister with your rag or paper towel. One more tip, if you will get into the habit of wiping your dirty brush with a paper towel BEFORE you dip into the can you will save on Mineral Spirits. 

See ya next time.....

Find Out What Your Palette Can Do For You....

We have been talking about our palette and color mixing for a couple of weeks. This week I wanted to share a very useful exercise that will teach you what your palette can do for you.

It is not a quick and easy exercise. But I promise you, it will open your eyes!

Here is how it goes:
Grid a sheet of gessoed canvas, about a 16x20" with about one inch boxes. You will need to have at the same number of squares across the top and side of your grid, as the number of paint colors you use on your palette. I used my basic palette colors in addition to some mixed colors (in quotes below).

Keep in mind I don't have all these colors on my palette at the same time and I don't always use tube greens. Also note that I always like to have 1-3 mixed grays on my palette for mixing purposes.

The paint colors across the top and down the side are exactly the same and in the same order. In the example above they are:

White                            W
Cad Yellow Medium    CYM
Yellow Ochre               YO
(mixed Orange)            O
Cad Red Light              CRL
Rose                              R
Alizarin Crimson          A
(mixed Violet)              V
Cobalt Blue                   CB
Ultramarine Blue          UB
(mixed violet blue/gray)    VBG
Pthaylo Blue                  PB
Viridian (I think?)          VG
Pthaylo Green                 PG
(mixed neutral middle gray)    NG
Payne's Gray or Black    B
Transparent Oxide Red   TOR

What happens next? A whole eye opening experience. It starts out tedious but believe me when I say, you will develop a rhythm and you will have so much fun when you begin to see what you get with each mix.

Begin by painting each square across the top in the order on your usual palette, (use your own palette paint colors), and then paint them in the same order down the side.

1-The first square - white is already done.

2-The second color is CYM. Mix white with CYM and paint the box where the two meet.

3-Now, move to the third color, YO. Mix white with YO and paint the box where the two colors meet. You will be mixing each color with white first, and you paint that in the square where the YO along the top and the YO along the side MEET! Above you can see this, the YO light is painted in the square where the two meet. Think of a crossword puzzle.

It can be tricky, especially as you get going and you are mixing more and more colors with each other, so use your finger on each hand to find the middle square by starting at the top and side and then follow to the center where they meet.

You will mix each color (along the top) with those colors that are along the side. What you will find out is that each color will get mixed with every other color on your palette - in addition each color will be mixed with every other color PLUS WHITE. You will get the idea after a while.

4-Still working with YO, you will then mix YO with CYM, the color that is above the YO tint box. If you put your finger on the YO on top and the YOM on the left, you will paint this box with that mix.
Now mix a little white into that mix and paint the box left of the YO tint, where the CYM on top meets the YO on the side.

5-Continue with one color at a time. I found that if I mix the original color with white first, it kind of helped me set the pace and keep my place. After I painted in the tinted color, I began mixing the pure color with the color that meets it from the side. After I mix two colors together, I paint the box above the tinted version of this same color. THEN mix a little white into it and paint the box on the left side of the tinted color. Move to the next color!

You will find in the finish that the color mixes that are below the white mixes will all be lighter because they have been mixed with white. The color mixes above are pure color mixes.

I don't know how to explain it any better my friends. It is not as difficult as it sounds, especially after you get going. I had so much fun discovering these new mixes, and was most of the time surprised at the beautiful colors that would evolve.

What you will learn through this exercise is much more than you might expect. Your mixing on the palette while painting will be much easier and smoother. You will discover new ways to get the mix you are looking for with less effort. You will save time.

If you paint this on a sheet of canvas or board you can take it with you or post it in your studio and use it as a reference.

I hope you give it a try. Please send me a note or just leave a comment if you do, and ask questions. Let me know if I said anything that doesn't make sense. Best of luck to you!

What? A Limited Palette? And Mixing Compliments

As I mentioned in the previous post, in the Wednesday studio classes we are studying color and color mixing using a limited palette. For those of us who started out with a full palette of color, (guilty!), we have a lot to learn. 

When I started teaching I began learning so much. I started setting up still lifes, so my students could learn the value of painting from life. I had painted this way, but not a lot. When I first learned to paint I painted mostly from photographs, (how NOT to paint). So, I began to "see" and identify value and color on a whole new level. What they say is true, to teach what you want to learn!

But, to stay on my topic, I then started teaching these color mixing exercises. The above photograph is one example. This is a wonderful way to learn to understand what your palette can do for you.

Use the color wheel as a guide and chose any two compliments. Paint a small square - use a palette knife or a size ten flat brush - on each side of the scale. No need to get fancy and draw everything out perfectly. You just want to practice this quickly and move to another set of compliments. Note - paint on a canvas sheet, and when it dries you can take it with you to class or use it in your studio as a guide.

When you paint your complimentary color on each side of the scale, allow about three inches in between. Now you begin to mix the two. The trick here is to use your eyes and not equal amounts of paint. The goal is to mix a neutral, one that does not lean toward either of the complimentary colors. 

So when I mixed yellow and violet, I used a LOT more yellow than violet for the neutral mix. It is important that you judge this correctly so take your time on this.

So now you have three spots of color. One compliment on each side and a their neutral gray mix in the center of the two. Now you will mix each compliment with the neutral mix, and your goal here is to lean the color mix toward it's compliment. So the middle right yellow spot will be less neutral than the center spot and more yellow than violet. On the left, the mix will be more violet than yellow. 

From here just add a little white to each mixture (toward a middle value), and paint it directly below the "pure" colors you just painted. Then do this again, adding enough white to mix a very light value. 

That's it. You will have fun using several different tube colors for each compliment. After you have done this with all three primaries, go on ahead and paint the secondaries and tertiaries the same way.

There are many more valuable exercises to do, but this one is simple and easy and will pay big benefits.

Last week we painted a still life set up using only black, white and ONE color. It was a fun learning experience and a good study of value and what you can do with one color.

Mixing Color

Years ago I taught a Color Workshop, and recently I have been teaching color mixing and how to explore color using a limited palette. So, I've decided to post the notes from the workshop so you can practice it at home (if you so desire).

Color Workshop

I held a one day color workshop at the Capital Art Center at 1200 S Street in Sacramento a few years back, and have decided to post it for any of you who might like to give it a go. It's a great little review for those who have studied color, but also for beginners who need to learn more about mixing color on the palette.

Some of the information I got out of the book, "How to See Color and Paint it" by Arthur Stern. The rest I have picked up while working with Anita Wolff, Brigitte Curt and Jim Smyth. http://www.classart.org/



STEP ONE: THE COLOR WHEEL

Making a color wheel may seem like a waste of time, but it is far from that. While making your own color wheel, you gain the experience of learning for yourself how the color wheel works. It is an amazing tool, when you understand it, and will serve you well if you want to master the art of painting.
In the workshop we used canvas (with gesso), and I used a black marker to draw the wheel before we painted the colors that we mixed onto the wheel. This worked great. Otherwise just use a canvas tablet that is large enough to get a good amount of mixed paint into each piece of pie or just a regular stretched canvas. Paper will not work well and absorb your beautiful colors!

• paint tubes



• palette set up



• mixing colors



• spectrum - The range or scale of colors on the Color Wheel (red, orange, green, blue and violet.

Making a Color Wheel (Spectrum Colors)

*Keep in mind when mixing two colors, you do not use the same amount of paint for each color, you must mix the two until you get the correct hue.

1. RED Mix Cadmium Red Light & Alizarin Crimson



2. RED-ORANGE Cadmium Red Light



3. ORANGE Cadmium Red Orange



4. YELLOW-ORANGE Mix Cadmium Orange & Cadmium Yellow Pale 



5. YELLOW Cadmium Yellow Pale (or light)



6. YELLOW-GREEN Mix Cadmium Yellow Pale and Phthalo Green



7. GREEN Mix Phthalo Green & a lot of Cadmium Yellow Pale



8. BLUE-GREEN Mix Phthalo Green & Phthalo Blue + a touch of Alizarin Crimson + a hint of White



9. BLUE Mix Phthalo Blue & Ultramarine Blue + a hint of White



10. BLUE-VIOLET Mix Ultramarine Blue + a touch of Alizarin Crimson + a hint of White



11. VIOLET Mix Ultramarine Blue & Alizarin Crimson + a hint of White



12. RED-VIOLET Mix Alizarin Crimson + a hint of White

Next we will learn to mix Complements to create beautiful 

neutralized colorful grays!

Class Demonstration - Floral Color Wash Technique

Yesterday in class I painted from a live floral set up using the Color Wash Technique. It was an interesting exercise in warm and cool. The shadows looked cool, but they were really on the warm side. The key in a case like this one is to compare the color temperatures to one another.  When I was judging this set up, the flowers were very warm, which made the shadows look rather cool. It works much like values, the easiest (not easy), way to judge is to compare.

I like to look at my subject and compare the shape that I'm working on to the shape next to it. When I'm making a color decision, do the same and compare the shape you are working on to the shape next to it, while squinting at your subject or set up.

Color temperature decision making is one of the more difficult things for a painter. Color itself can be tricky. We get a little confused because we sometimes think that a color is either warm or cool. Not so! It is all relative. Try to make your decisions based on whether your color/value shape is darker or lighter and also warmer or cooler than the surrounding shapes.

This will be a little easier after you have blocked in the original color value shape - and you get it right or nearly right. At this point you can judge more easily.

Plein Air Day at Sand Harbor...

About edges.....

I wanted to share a few ideas with you about controlling edges. This is one of the most important visual elements in painting. It is also a more advanced technique, I believe. I say this because it takes time for our eyes to observe edges correctly. 

The way we see: The human eye takes in what is in front of us in a way that you might not have considered while painting. We zoom in on something as we observe. While doing this, everything around the object of our attention goes into "soft lens mode". Our eyes move from subject to subject, in "zoom mode". Continually, everything that is not in focus is out of focus. 

This is what we must consider as an artist while painting. When you look at a painting, it is best viewed in zoom mode. So pick your focal point early in the painting process. I have found that it works best for me to keep all my edges soft, unless I'm working in an obvious focal area of the painting.

Carolyn Anderson says that our problems with edges have to do with our perception, the way we process what we see. I get it, the image goes in, but we might be getting the message wrong. You can read her post on edges here.

I finished up this little demonstration piece this morning. I started it during my class in Sacramento last Tuesday. It was dry of course, but fortunately I had left the edges soft. It was mostly underpainting, painted using the transparent color wash using the "sauce".

I only had to ad a few strokes to finish it up and I left a lot of the transparent wash as a lighter value in the flowers. I had no photo reference, so I used my imagination. I do this more and more lately, and it's not problem because if I don't like the way it turns out, I throw it out! That takes all the pressure off and allows me to experiment while having no concern (ok, maybe a little), for the outcome.

Okay, about painting edges. Consider that an edge can be painted as a sharp edge, soft edge or even no edge. When two similar values come together, usually in shadow, there is no edge. A cast shadow, at it's base is usually a sharp edge. as the shadow moves away from the object blocking the light, it will turn into a soft edge. A form shadow is almost always a soft edge. At the focal point, use big value and temperature changes and a sharp edge! 

You can learn to create a soft edge with your brush. Paint one value/color shape into the one next to it. Paint from an abstract design, and don't draw on the canvas. Mark your composition using slight marks with paint but don't draw. Stay soft. Keep away from thinking too much and making everything just "so". 

Paint right "into" the shape next to the shape your are painting! Let it blend. If you see an edge that is too sharp, using a clean brush, use a light stroke to pull them together from top to bottom, not side to side with many strokes. 

Use a light touch with your brush. If you see an edge that is too sharp and the paint is dry or is drying, mix the two colors together on your palette and paint that into the edge.

Please comment and leave your questions, or send me an email. We can talk about this further. I'll demonstrate in our next class, just remind me. 

A very tidy palette indeed Suzanne! And I like your notan too!!

One of the set ups at the Studio last week.

Blonds painting flowers!

Everybody in class did a great job. I do love teaching and I love painting flowers so for me, it was a win, win.. 

I was really happy to meet some new painters in my group. You were all a joy to work with and I'll look forward doing it all again in our next class on March 24th.

We talked about a lot of things, but first and foremost, we talked about how to see value and color. What is going on with that? We must learn to see value before we can see color relationships. This is a big topic and I hope to get back to you soon with more about this... R