Figuring It Out in Watercolor (Online Workshop) Summer 2024 w/ Mike Kowalski
July 5 to July 19 (Fridays), 5:00 PM to 8:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
DEMO: https://www.youtube.com/watch?v=DfNbuHZ-0kE&t=13s
Please check your email spam/junk folder for your Zoom invite.
Workshop Description
In this workshop we will cover three aspects of adding figures to a painting.
1.) Adding small figures to a painting to create energy and life, 2.) Adding a medium sized figure ( or two or three ) adding a focus or a story to a painting and 3. ) Doing a “portrait” or figure as a main subject.
I will cover some figure drawing keys, painting tips, color options and a little bit of figure drawing structure. We’ll be looking at other artists work for ideas and solutions, do some simple figure drawing and study and encourage outdoor figure observation and sketching assignments on your own.
I have included bits of a few paintings to give you an idea of what we’ll be focusing on.
Workshop Outline
Week 1 -
For our initial session, e will be working on a scene that requires some small figures to, excuse me, flesh the painting out a bit. We will concentrate on drawing and painting small figures, those tiny ant like specks of paint, to recognizable human figures at a small scale.
I will cover a pit of perspective, or how figures sit in a landscape correctly. We will do a little sketching and some simple painting exercises that will warm you up a bit and add some confidence to your painting. I will suggest a few out of class exercises as well and show samples of other artists work to see how they have achieved adding figures in their own work. We will touch on composition and color choices as well as my own version of basic watercolor technique.
The meat of the class will be working on a watercolor “setting” for our figures and then adding the figures when it most suites the painting process.
Week 2 -
In class two we are moving on to a painting that has a medium sized figure(s) as a major role in the painting. Like Lesson one we will be creating a watercolor as a backdrop or scene for the figure(s) we will add. The focus here is how to create a figure with some interest. Too many watercolors I see are populated with the same stiff figures repeated throughout a painting. Here we will concentrate on creating figures with interest and even personality. We will be working from photos and on site sketches (that means a bit of homework ). I will cover some basic figure drawing “building blocks” to get students comfortable with designing their own figures.
Our painting will concern regular watercolor painting technique, but will focus on how we “place” a figure or figures in a painting and how we go about getting that done.
Week 3 -
Our final lesson will consist of an entire painting of a figure ( or part of a figure ). The painting will be smallish in size (1/4 to 1/2 sheet ), and I am not concerned with anatomical features. I am concerned with good painting skills, composition and some technique to help make the figure feel alive and vibrant. I will be demonstrating some techniques and tips on how to paint figures, and cover some basic figure drawing/painting techniques. This will not be a portrait, but rather a well composed picture featuring a figure as the main element. I may choose to offer two options for class and we will all be working from a photo with some possible video information as well.
As with my other classes we will look at other watercolorists work to see the variety of ways artists depict the human form.
Note on materials:
All of these paintings will work on a quarter sheet format. 10 x 14 is the minimum size.
HOWEVER….. It is VERY IMPORTANT to have some room around your picture for things like color checking, and moisture content of the brush. I cannot implore this enough.
I suggest a 12 x 16 block of watercolor paper or a sheet (140 lb/300 g is suitable) torn into four pieces.
Lighter weight paper can be used for studies and such.
Workshop Materials List
A note on buying supplies. Art supplies are not cheap, but trying to save money by buying student colors and paper is not advisable. Dick Blick, Jerry’s Artarama or Cheap Joe’s Art Supply are good sources. Many cities have quality art stores where you can get good advice and supplies. Please contact me if you have any questions about materials.
You can get by in this class with a bucket to sit on, an old plate for mixing colors and a brush or two. You can also spend hundreds and hundreds to arm yourself. Somewhere in the middle is probably best.
Dick Blick http://www.dickblick.com
Cheap Joe’s http://www.cheapjoes.com
Jerry’s Artarama http://www.jerrysartarama.com
Jackson’s Art Supplies https://www.jacksons.com
Portable easel ( option for outdoor work )
I find standing to be a much better position than sitting ( more freedom of movement) but sitting works.
En Plein Air Pro is is a good beginners option (flimsy).
Strada Easel makes a high quality easel adapted for a John Pike Palette which, if you have a good tripod this is an option. Contact them:
http://www.stradaeasel.com/blogs/strada-in-the-field/17818092-strada-for-watercolor-artists
Standing or sitting at a large table is fine as well. It should have room for a large palette, your paper and a couple jugs of water. If you are sitting just a watercolor block on your lap is fine.
Watercolor paper ( Blocks, stretched paper, pads 140 pound to 300 lb. preferable)
Most students use Blocks which are fine. 11 x 14 inches will work. 12 x 16 is BEST (see note below ). Cold pressed or rough paper is preferable. I will demonstrate using the paper texture to create light effects. I recommend Saunders Waterford paper and Fabriano.
Use a 100% cotton rag paper if possible ( Arches, Lana, Fabriano, etc. )
Canson Montval is a cheap alternative that I use. It is not a rag paper, but cellulose.
Note on materials:
All of these paintings will work on a quarter sheet format. 10 x 14 is the minimum size.
HOWEVER….. It is VERY IMPORTANT to have some room around your picture for things like color checking, and moisture content of the brush. I cannot implore this enough.
I suggest a 12 x 16 block of watercolor paper or a sheet ( 140 lb/300 g is suitable ) torn into four pieces.
Lighter weight paper can be used for studies and such.
Watercolor palette: I recommend:
-Mijello-Fusion-18-Well. No thumb hole. Inexpensive and great quality. Look for one with a removable additional tray.
-John Pike- Perfect for studio use, lots of room for mixing. I have four of these!
-Holbein 350 or larger folding palette with paints only in wells on ONE SIDE if possible (or only use one side of the palette ), Aluminum. I love using this style for smallish paintings and sketches.
Colors: Use ARTIST QUALITY paints. Not student colors which contain fillers and dyes. I use Daniel Smith colors ( other good brands are: M. Graham / W/N / Rowney/Grumbacher. Cheap Joe’s sells their own brand, American Journey). If you already have student colors we will make that work. Bring whatever you have.
Minimum Palette ( what I will be demonstrating with )
1.) Ultramarine Blue
2.) Cobalt Blue ( not hue) expensive, but it is a must.
3.) Cerulean (not hue )
4.) Aureolin (or Nickel Azo Yellow or Hansa Yellow Light )
5.) Quinacridone Rose ( must have ) ( Alizarin Permanent is an option )
6.) Cadmium Red Scarlet (you can get by without this if need be )
7.) Yellow Ochre
8.) Raw Sienna
9.) Raw Umber
10.) Viridian
A tube of White gouache is useful though I rarely use it.
Other colors that can be useful are a to Light Red or Medium Yellow.
Brushes: minimum Round sizes 8/12/16 ( if you choose one brush get a 10 or 12 )
Small size 4 or 6 with good point ( sable ), Also a rigger and large 1 1/2”
wash brush are good to have on hand. I typically use a size 20 or 22.
I like Escoda Perla round brushes ( Dick Blick ) Great brush, good value( 20 or larger is great size ). A squirrel mop or large flat wash is good. Synthetic is fine. I always carry a rigger size 2 or 3. and a smalI size 4 or 6 for details. I recommend Rosemary and Co. brushes ( UK ) . They carry all types, best quality and great pricing. In their line I can suggest these series: 170, 401, 301, 304, 788 http://www.rosemaryandco.com
These are just some of the various brushes I use.
1.) Escoda Prado size 10 - synthetic sable
2.) Escoda Grafilo size 14- Kolinsky sable - It has a nice round belly to hold paint.
3.) Rosemary & Co. Red Sable Blend. size 10? A great all around brush with a sable feel. Great value.
4-6.) Escoda Perla sizes 12/16/22- My go to brush at the moment. Stiffer than a sable. I can be rough with them and they’ll take it.
7.) Isabey Petit Gris, “Cat’s Tongue” size 8- squirrel hair. Very soft, holds a lot of paint for gestural work. Holds a nice point
8.) Isabey Petit Gris squirrel mop, size 6- I use this mainly for skies and glazing my larger paintings.
9.) Cheap Joe’s “Water Hawk” size 10- squirrel hair- round. No body, very soft. Good for looser work.
Other items:
-Old “credit card” for scraping.
-2B or 4B pencil and white eraser ( I like a .9 or .7 mechanical pencil, 2B-4B leads )
-Sketchbook size 8.5 x 11 minimum
- Tape if needed
-A View finder ( optional ) is really helpful ( for plein air work ). Here are three options. I use the “Viewcatcher” many good art shops carry them.
http://www.artworkessentials.com/products/accessories/Viewfinder/VF68G.htm
http://www.jerrysartarama.com/discount-art-supplies/perspective-tools/view-catcher.htm
-Water bucket with handle if working with easel, otherwise an empty yogurt container works. Paper towels or bathroom tissue. Sunscreen,Hat, and camera