Painting Skies: 5 Simple Techniques. 31 Must-Know Tips for Mixing Color. Peek Inside Turner s Sketchbooks. Keys to Bold Color and Powerful Design - PDF

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FnL1 Qy1BDDA3NDQ3MDAyNDk5NgA= JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo SW9sYSBkaXZpc2lvbikPR3JlZ29yeSBL cnvlz2vyaesxuswemtaunai4maexbvvq Keys to Bold Color and Powerful Design Painting Skies:
FnL1 Qy1BDDA3NDQ3MDAyNDk5NgA= JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo SW9sYSBkaXZpc2lvbikPR3JlZ29yeSBL cnvlz2vyaesxuswemtaunai4maexbvvq Keys to Bold Color and Powerful Design Painting Skies: 5 Simple Techniques 31 Must-Know Tips for Mixing Color Peek Inside Turner s Sketchbooks JUNE 2010 INSPIRATION IDEAS INSTRUCTION artıst US $ Display until June 21, 2010 Around the Corner (watercolor on paper, 30x22) by Ric Dentinger Ric Dentinger wields his brush with a dramatic flourish, proving that watercolor paintings of the everyday can be uncommonly affecting and bold. Brıllıance uncommon By Meredith E. Lewis According to Ric Dentinger s mother, he was always different than other children, including his five siblings. At the age of 3, he would sit alone and draw for hours on long sheets of paper stretched across the floor; the local butcher always stood ready to refill the paper supply whenever it dwindled. Today Dentinger, who counts Andrew Wyeth, Winslow Homer, John Pike and John Singer Sargent among the artists he admires, maintains his child-like enthusiasm for art and color. His brush wields watercolor with a flourish and an illustrator s touch, proving that the medium can be in his words bold, dramatic and strong. Sweet Melodrama Dentinger s best paintings capture everyday views and objects in extraordinary ways. Doorways yawn with gaping black mouths, doughnuts glimmer like beads in an oversize tower, and a maraschino cherry tumbles across a table tossed with whipped cream and nuts. The colors in his paintings are as luscious as their subjects: Pinks and greens cavort with reds and blues and violets and yellows. The tones he employs are jewel-like in their intensity and in their brilliance, set off with darks so dark that the paintings could easily be mistaken for works in another medium. Suddenly objects and aspects too easily eaten, ignored, or altogether forgotten are rendered special and astonishing. The viewer is captivated by the seemingly un-captivating. Continued on page 29 Sweet Temptations Dentinger designed Hello Cupcake (at left; watercolor on paper, 22x30) after a trip to a bakery in New York City. I wanted to make the cupcake as big and as tempting as possible, he says. To create the same effect in Stacked Temptation (at right; watercolor and gouache on paper, 30x22), the artist lit the doughnuts in the studio to achieve a golden glaze against the black background. 24 step-by-step statuesque shapes Reference Photo 1 To learn as much as possible about my subject, I always begin with a detailed value drawing. This helps me to work out composition and value concerns before I delve into the painting. 4 I began to add color, form and shape, exaggerating what I saw in the reference photograph. I focused on the face and body of the statue first, then continued to add color, working outward. I mixed very thick color and worked fast, letting the colors mix together to complete the underpainting. 5 To lay down shadows, I mixed a fluid and generous amount of color using ultramarine finest and burnt sienna, looking for fluidity and transparency. I applied all of the shadows in one pass, using my detailed drawing as a road map. 26 I transferred the detailed drawing to a 300-lb. 2 Arches cold-pressed half-sheet, using a No. 2 lead pencil. 3 I mixed my darkest darks using a very thick mixture of ultramarine finest and burnt sienna. (I prefer to mix my own black in order to achieve a more interesting dark.) I started adding my darks at the center of interest and then worked outward. When I finished with my darkest darks, I let the painting dry completely and naturally. 6 In the final stage I added more darks, texture and detail to Angel of Mission San José (watercolor on paper, 12x14). Watercolor Artist June 28 Continued from page 24 Dentinger often paints views and objects that will not and cannot last. The delicate nature of such moments and ephemera yields a sweet melodrama to his work and an emotional connection that the artist actively seeks. The inspiration for a piece usually comes the second I see it, he says. Either it s there or it s not. He s always in search of subjects that move him to paint, but he s also ready for those subjects that may appear to seek him out. Whether I m traveling or working in my studio, I typically paint a subject because of the way it makes me feel, he says. It s an emotional connection first and foremost. Bold and Meaningful As a professional illustrator and art director, Dentinger has worked with such high-profile companies as Coca-Cola, Michaels arts and crafts stores and Valero Energy. He learned to draw and paint with confidence, and later translated that bold approach to his work in watercolor. I paint very thick, very heavy-handed, he says. My coverage is heavy, but it s not overworked. The drama comes from the light. Dentinger paints his darkest darks first, an unusual methodology for a watercolorist, but one he insists holds the painting together. For him, painting a bold and meaningful work begins with getting to know his subject, and drawing provides the perfect introduction. When I begin my sketch and get to know my subject, it s then that I discover why I was so compelled to paint it, he says. I like to take a subject and present an aspect of its personality that gives a different or unique perspective. As a studio painter, Dentinger bases his drawings primarily on photographs. Having made a career in the graphic arts and art direction, he enjoys setting up still lifes in his studio and working with his daughter, a professional photographer, to shoot them. For architectural and outdoor scenes, he typically composes his drawings based upon photographs he takes on location. Shadow Dancing Around the Corner [opposite; watercolor on paper, 30x22] was painted from a trip I took to Mazatlan, Mexico, says Dentinger. The early morning sun made terrific shadows on the dramatic façade. From First Sketch to Final Details For Little Wing (on page 31), an image of a stone angel from the sanctuary entrance to the San José Mission, Dentinger began his painting with several thumbnail sketches compiled from on-site photographs. He used these sketches to determine what composition would ultimately work before completing a detailed drawing. In the detailed drawing I learned as much as I could about the subject, he says. I find this helps to prevent any surprises that might come up while I m painting. At this stage Dentinger paid particular attention to values, pushing and pulling light and shadow areas further and further apart in toolsofthetrade Find out what tools Ric Dentinger uses to create his bold watercolor paintings. Palette: Dentinger has a set palette of Schmincke Horadam watercolors and gouache, to which he adds supplementary colors as needed. He begins developing his palette with a cool and a warm yellow, plus yellow ochre and an orange. He adds a cool and a warm red, plus a violet, then a cool and a warm blue. He uses ultramarine finest and burnt sienna for his darkest darks, neutral grays and transparent shadows. He adds two more blues and a turquoise, a cool and a warm green (preferably chromium oxide green brilliant), a red earth (burnt sienna), two umbers, a blue-gray and titanium white. He mixes Naples yellow reddish in for portrait and figure painting. Brushes: Raphael Kolinsky Red Sable Series 8404, No. 8 and No. 4 round Da Vinci Cosmotop Spin Flat Wash, size 30, 40 and 50 Da Vinci Quill, size 0, 2, 4 and 8 Isabey Siberian Blue Squirrel Quill Mop Series 6234, size 2 and 6 Ground: Arches 300-lb. cold-pressed or 300-lb. rough paper Watercolor Artist June Bold Contrast I was attracted to the contrast between the hard-textured shadowed wall and the soft green sunlight on the other side of the window in Seeing Through [watercolor on paper, 22x30], says Dentinger. his value sketch. The use of light and dark or warm and cool patterns of color keep the viewer moving and interested throughout the painting, he says. The shadows create depth, interesting shapes and drama. After transferring all of the details of the drawing to 300-lb. Arches cold-pressed paper, Dentinger taped his ground with white art tape to an art board cut to fit his sheet (22x30 inches). Next, he painstakingly removed the sizing with a water-loaded Da Vinci Cosmotop Spin Flat Wash, size 50, by brushing the paper top-to-bottom and side-to-side. The artist allowed the paper to dry naturally, and then he began his painting process. His first step was to find and paint the darkest dark in the composition, which he applied as ultramarine finest and burnt sienna (mixed very thickly) with a Da Vinci quill, size 2. As he does with every painting layer, he allowed the color to dry before proceeding. Dentinger is particularly adept at creating texture, and in this painting he turned his Raphael Sable No. 8 brush on its side to apply an assortment of thickly mixed earth colors nearly drybrush. I usually load my brush (I find a natural hair brush works best) with the right mix of paint and very little water and glide over the tooth of the paper as much as possible, he says. I also load the brush and splatter, tapping the brush gently over my hand. Sometimes I use gouache in the shadows and dark areas, as in the wall of the painting, Seeing Through [above]. After the texture dried, the artist mapped out his shadows with a No. 2 pencil. My shadows are very transparent, he says. I drop those in last. For Little Wing he mixed a transparent shadow mixture from ultramarine finest and burnt sienna and applied them in one pass with an Isabey Squirrel Quill Mop No. 8. He used titanium white gouache, albeit sparingly, for finishing highlights and to add texture. 30 If you look up the word impulsive in the dictionary, it perfectly describes watercolor. Stone Faced I was struck by the beautiful child-like face of the stone angel in Little Wing [watercolor on paper, 22x30], says Dentinger. Ornate State This is the entrance to the San José Mission, says Dentinger. The challenge of painting San José Doorway [watercolor on paper, 30x18] was to simplify the ornate detail in the doorway. A World of Its Own If Dentinger s technique seems controlled, his methodology still allows for the wily nature of watercolor to show through. I love the impulsiveness of the medium, he says. If you look up the word impulsive in the dictionary, it perfectly describes watercolor impetuous, spontaneous, hasty, passionate, emotional, uninhibited, rash, reckless, foolhardy, whimsical and that, for me, is its beauty. It has its own life, and my challenge has always been to work in tandem with the medium. For the artist, who prefers a quiet scene or a still life composed in the studio to a more complicated plein air study, the important thing is to bring into focus those things in life that people don t really take the time to see. Although the artist is a frequent traveler and enjoys painting out-of-doors or shooting images to capture later in his studio, it s perhaps in his still lifes that his painting philosophy becomes most apparent. There s something very soothing, very calming about a still life, he says. You re drawn to something that s simple, that s an everyday thing. It s hard to define or describe the emotion that you feel but you know it when you see it. Dentinger says he knows immediately when something is working: When it feels right, when a subject wants me to paint it, when a still life wants to draw me into a world of its own, he says. MEREDITH E. LEWIS is a freelance writer and editor who lives in Central Pennsylvania. Watercolor Artist June To purchase your copy of the issue of Watercolor Artist in which this feature appears, please visit our online store: Print issue: Digital issue: Plus, visit our site for more watercolor inspiration and instruction:
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