Tag Archives: #figurepainting

Color Studies (3) – Analogous Colors

In order to push myself to work more, I participated a “100 Day Art Challenge” by New Masters Academy, of which I became a member last year upon a Black Friday sale. I committed myself to figure or portrait drawings or paintings for 100 days. We’ll see how it turns out.

Since it’s not a small commitment (for me at least), I think it would be a good idea to shoot a couple of more birds in the meantime, such as incorporating some color studies into the challenge.

This week I did a couple of small paintings using analogous colors. Analogous colors are a group of 3 to 5 colors next to each other on a color wheel. From a design point of view, complimentary colors are for contrast, and analogous ones are for harmony.

I tried to limit my choices to 3. With tint and shade of each color and various intensity, there should be enough to work with. In theory.

For the first painting, I planned to use red-orange, orange, and yellow-orange. In practice, the darkest I could get is a deep shade of red-orange. As it seemed not dark enough, I kept adding black to it, and in some places, I just used black directly. The black also contributed to the greenish color in the background. Meanwhile, since I mixed my yellow-orange with yellow and orange, some of that yellow also got in. Looking back, I blamed my disastrous control of color on a lack of design. The reference I chose has strong contrast, and darker colored clothing. If I want to use colors in a limited way, I need to go beyond a literal reading of the reference, and have a better strategy for value:

Portrait of a Young Woman, watercolor on paper, 9 x 12in, April 2020

For the second painting, I chose yellow-green, green, and blue-green. I think I still got the value wrong in some places, but at least I stayed within my color choices:

Female Figure, watercolor on paper, 9 x 12 in, April 2020

The last one I used blue, blue-violet, and violet. I started this painting with Tombow water-soluble markers. Tombow has a hard and a brush tip, allowing more diverse lines. However, they are not as water-soluble as Crayola. There are lines I couldn’t disappear with water, and a big part of the painting process was to resolve the problems caused by those lines.

Portrait of a Woman, watercolor on paper, 9 x 12 in, April 2020

In the end, I am very glad I did this experiment. Even with the painting I cheated, I can still see how analogous colors help bringing things together. It’s not that each painting has to follow a color formula, but these are tools to help us to achieve harmony. Because of that unifying power, using analogous colors is also a great way to create a mood in paintings.

Life Drawing Gone Crazy in a Crazy Time

I’ve been taking a life drawing class at a community college this year. My professor is great at teaching and extremely knowledgeable about anatomy. This is her last year at the school and she planned a happy ending to her teaching career and a smooth transition back to a full time artist. Now she has to move her class online through Zoom, and for someone who’s not particularly tech savvy, this is not easy. It’s been a couple of weeks now, but our class is still not on track. Meanwhile, she has found some really good materials for us to practice on our own. Here’s a list of stuffs she recommended and/or I’ve been using:

  • Proko – by Stan Prokopenko. It contains some of the best instruction videos on figure drawing. Enough free stuffs, but if you pay, more structured lessons and practice materials. I personally have been using this site for a while, and am a big fan of their Draftsmen Podcast.
  • Love Life Drawing – Great advice for beginners or artist seeking improvement.
  • New Masters Academy – They have a subscription plan that allows access to tons of good art classes or master classes. The free stuffs including many timed life drawing videos featuring photos of clothed or nude models.
  • Croquis Cafe – Videos and photos of models for life drawing. This is probably the closest you can get online to a real life drawing experience. Great models and so many to choose from. My only problem with it is that after they moved to Vimeo, the streaming is less smooth.

This is not just a time for staying in, but also coping, adapting and discovering!

Here’s a quick drawing I did:

Shanon, Charcoal on paper, 18 x 24 in.

Obviously, it asked for more. Hence:

Shanon, Gouache on paper, 18 x 24 in.

Color Studies (2) – Monochromatic

Of the three components of color, hue, value and saturation, I personally find value the most difficult. Colors are attractive and distracting, and it could be difficult to discern values accurately from all the colors in front of us. Monochromatic painting is a great way to train your eyes this way.

In traditional Chinese brush paintings, many of which are monochromatic, it’s the value changes through the control of water that create the art. I took a few lessons of Chinese brush painting one summer, and lessons were mainly copying old masters. This is one of the paintings I copied:

After Qi Baishi, ink on Xuan paper, summer 2018

Monochromatic is a good strategy when time is limited. In life painting, it saves the trouble of finding the right skin color and allows me to focus on value and shape.

Woman, ink on watercolor paper, 9 x 12 in, 2018

In landscape scene with overwhelming branches and leaves, monochromatic approach simplifies the view. This plein air was done in burnt sienna. I included some of the visitors I had during the painting – out of proportion, I know, but a lot of fun.

Fox and Caterpillar at West Valley, acrylic on canvas board, 16 x 20 in, 2018

More than often, monochromatic painting is used as underpainting. It serves as a value map, but also allow some color strategies. (I found this post by Mitchel Albala very helpful.)

Another approach is to do a monochromatic underpainting, and glaze over it with transparent colors, often times many layers. For acrylic, that means adding quite some medium to the color. My selfie is done this way – dozens of layers. I have to admit, I doubt I will ever use this method again. Too tedious.

Selfie, acrylic on canvas board, 16×20 in , 2018

I think in theory it could be done with watercolor too, for watercolor is transparent in nature. Even the opaque ones, with enough water, become transparent to some extent. From what I heard, to glaze in watercolor, the key is to wait for the underpainting or the previous layer really really dry, bone dry. Maybe someday I will try it.

Try New Things (3) – Framing

Full Moon, watercolor on tinted paper, 11 x 14 in, November 2019

There’s nothing new about the painting itself. I was fascinated by the Japanese ukiyo-e art, and tried to create something in that style. The new things for me are the preparing of the paper and the final display.

To prepare the paper, I boiled 10 bags of Liption black tea in a pot, pour the water in a tray, and after it cooled, soaked the watercolor paper in it for a couple of hours. The result is a nicely tinted paper.

For display, I always find matting and framing of watercolor a chore, and that’s part of force driving me to acrylic painting in the beginning. I recently came across two videos on how to display watercolor painting without glass, or even frame. I am sure there are many other videos on the topic, but these are the ones I referenced:

  1. Brennie M Brown: Framing Watercolors without Glass
  2. Robert Burridge – BobBlast: A Contemporary Way to Frame and Exhibit your Modern Works on Paper

Simply put it, if you want to frame the artwork without glass:

  • Glue the artwork onto gator board with acrylic gel medium, and let it dry overnight
  • Varnish it with 2 coats of gloss and 2 coats of matte varnishes, in that order
  • Frame it

If you want to display the artwork directly:

  • Painted the edges of a cradled wood panel to desired color (this step is optional)
  • Glue the artwork to the panel with acrylic gel medium, and let it dry overnight
  • Varnish it (same as in previous method)

Mr. Burridge didn’t mention varnishing in his video, but I did it anyways. The result is a waterproof surface. There are artists online saying varnishing changes the color of their paintings. If you only use gloss varnish, the color will look more vibrant. If only matte varnish, it probably with dull or blur. I used both, and the result is fine. However, it always wise to test it on some old paintings first.

The result hanging on the wall.