03/26/09: Last Night's Chat!
During last night's chat, the main question was how to mix a value scale properly. Here is the answer.
Steps to mixing a colour:
Step One:
The medium value or body tone is mixed first
The colour family of the object is the first consideration.
(These are the pure colours on the colour wheel.)
Step Two:
Value is the next consideration.
The value is raised by adding white, gray, lighter neighboring colour or a lighter earth tone.
The value is lowered by adding black, darker gray, darker neighbor colour or a dark earth tone.
In each of the above additions, not only the value changes but coincidentally so does the intensity.
Step Three:
Intensity is usually the next consideration.
Lower the intensity by adding black, white, gray, earth tone or complement.
Temperature needs to be taken into account.
Refer to Temperature in the vocabulary section.
The colours may need to be adjusted. This may require a few more steps to achieve the colour.
Has the colour shifted into another family?
Did the value change when the mix was neutralized?
Overneutralizing can be corrected by adding the pure hue
that created the colour family.
Finally, analyze how the colour looks in the composition Once the medium value is determined
to be appropriate, then mix the lighter and darker values using the guidelines in the beginning
of this section.
Another question was about shedding mop hairs (through an email)
Mops are notorious for shedding. Double back a piece of sticky tape and
pull your mop across it to pull out any wild hairs. Do this each time with each mop before you start painting.
Steps to mixing a colour:
Step One:
The medium value or body tone is mixed first
The colour family of the object is the first consideration.
(These are the pure colours on the colour wheel.)
Step Two:
Value is the next consideration.
The value is raised by adding white, gray, lighter neighboring colour or a lighter earth tone.
The value is lowered by adding black, darker gray, darker neighbor colour or a dark earth tone.
In each of the above additions, not only the value changes but coincidentally so does the intensity.
Step Three:
Intensity is usually the next consideration.
Lower the intensity by adding black, white, gray, earth tone or complement.
Temperature needs to be taken into account.
Refer to Temperature in the vocabulary section.
The colours may need to be adjusted. This may require a few more steps to achieve the colour.
Has the colour shifted into another family?
Did the value change when the mix was neutralized?
Overneutralizing can be corrected by adding the pure hue
that created the colour family.
Finally, analyze how the colour looks in the composition Once the medium value is determined
to be appropriate, then mix the lighter and darker values using the guidelines in the beginning
of this section.
Another question was about shedding mop hairs (through an email)
Mops are notorious for shedding. Double back a piece of sticky tape and
pull your mop across it to pull out any wild hairs. Do this each time with each mop before you start painting.
03/18/09: Favorite Cruise Pictures!
Mary, Anna, John and nieces Kristin & Amanda
San Juan
St. Thomas View
St. Maarten View
03/14/09: Richeson Art Competition
Mary has two works in the upcoming Richeson 75 Art Competition (view show here) It is a show of Small Works that will be exhibited March 23 - May 21 in Kimberly, WI.
03/11/09: Back from our Painting Cruise!
Just a quick note to let you all know that we are back from our painting cruise. John is working on a video so that you can all see some of the highlights and determine if you would like to join us next year!
We had 39 guests with 22 painters. Our next cruise is March of 2010 so watch the website.
We had 39 guests with 22 painters. Our next cruise is March of 2010 so watch the website.
02/25/09: Chat February 15 Information
The chat on the 15th was enjoyable as always.
Some general questions were:
How do you paint with Genesis on porcelain?
If the porcelain does not have any "tooth", it must be etched with an etching cream such as B&B Etch All to give it tooth otherwise the paint will not adhere. This is true with traditional oils also.
What is a Giclee?
There is an article on the Newsletter page that explains the concept and process. View this information here.
Can you tape over the top of Genesis?
I do not recommend it as the tape could adhere to the paint and lift the dried paint. I do not recommend heat setting while there is tape on the board as it bonds sometimes down to the masonite.
Everyone was talking about Corkie Dunlap, her Genesis expertise and web site. Here is the link to Corkie's site. Corkie is on the Board of Directors for SDP. She will be teaching at HOOT and NET this year.
Some general questions were:
How do you paint with Genesis on porcelain?
If the porcelain does not have any "tooth", it must be etched with an etching cream such as B&B Etch All to give it tooth otherwise the paint will not adhere. This is true with traditional oils also.
What is a Giclee?
There is an article on the Newsletter page that explains the concept and process. View this information here.
Can you tape over the top of Genesis?
I do not recommend it as the tape could adhere to the paint and lift the dried paint. I do not recommend heat setting while there is tape on the board as it bonds sometimes down to the masonite.
Everyone was talking about Corkie Dunlap, her Genesis expertise and web site. Here is the link to Corkie's site. Corkie is on the Board of Directors for SDP. She will be teaching at HOOT and NET this year.
02/03/09: New Question and Answer
Question: I lost you during the chat - what should I do in the future if this happens?
I am sorry that we got separated during the chat. I got bumped off and logged in again. I must have ended up in another chat room. If this happens again, that I leave I will advise all that you need to logout and login again. This is the first time this has ever happened!
Question: My Genesis painted background lifted when I taped down the tracing with Magic Tape - why and how can I repair?
I think your painting was cured but "tender" so that is why it lifted. Your tape may have been very sticky so it bonded with the paint. It also matters how long you levae it on as it will bond eventually. I would suggest using drafting tape (not masking) as this is very low tack and rarely sticks. Another option would be to use a clip to hold the tracing on if you are worried about a repeat performance.
To repair, slightly sand the edge with a paper bag or Super Film and repaint the area. It may need 2-3 coats drying inbetween.
I am sorry that we got separated during the chat. I got bumped off and logged in again. I must have ended up in another chat room. If this happens again, that I leave I will advise all that you need to logout and login again. This is the first time this has ever happened!
Question: My Genesis painted background lifted when I taped down the tracing with Magic Tape - why and how can I repair?
I think your painting was cured but "tender" so that is why it lifted. Your tape may have been very sticky so it bonded with the paint. It also matters how long you levae it on as it will bond eventually. I would suggest using drafting tape (not masking) as this is very low tack and rarely sticks. Another option would be to use a clip to hold the tracing on if you are worried about a repeat performance.
To repair, slightly sand the edge with a paper bag or Super Film and repaint the area. It may need 2-3 coats drying inbetween.
02/02/09: Online Chat Notes from February 1
Sunday night we had a great online chat - here is a recap of some of the questions and answers.
Question: Is art ability inherent or can it be learned?
Answer: I think that art ability can be learned. Those seem to be "naturals" are those that have been surrounded by art from an early age. I am reading Malcolm Gladwell's book "Outliers" and here is his take on this question:
In Outliers, the premise is simple: Why do some people succeed far more than others? Gladwell argues that (this is taken directly from the inside flap) if we want to understand how some people thrive, we should spend more time looking around them at such things as their family, their birthplace, or even their birth date. The story of success is more complex and a lot more interesting than it initially appears.
Gladwell dedicates an entire chapter to what he calls the 10,000 Hour Rule. In that chapter he asks a very simple question: is there such a thing as innate talent? Which is to say, are there some people out there who are just naturally gifted and just float by effortlessly to the top of their chosen field/hobby/sport/what-have-you? The obvious answer is, yes. However, in typical Gladwell fashion, he digs a little deeper.
Gladwell points out that the problem with this view (natural talent) is that the closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to play and the bigger role preparation seems to play. Gladwell notes:
The idea that excellence at performing a complex task requires a critical minimum level of practice surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.
What separates elite violinists from good violinists to those who only end up music teachers? Practice. 10,000 hours to be exact. Why is Bill Gates able to take baths in hundred dollar bills? He spent hours upon hours (hello, 10,000) honing is computer programming skills as a high school student.
The point is, if you want to be great in anything, youre not just going to get by with talent alone.You have to attend seminars, network, and read more than two books.
Question: How can I control the intensity of my painting?
Answer: I would like to answer this by directing anyone interested in intensity to an excerpt of our book "Guide to Mixing & Using Color". Click here to download information on intensity as it is very complex. The upside is that this will start you on your journey of 10,000 hours!
Question: Is art ability inherent or can it be learned?
Answer: I think that art ability can be learned. Those seem to be "naturals" are those that have been surrounded by art from an early age. I am reading Malcolm Gladwell's book "Outliers" and here is his take on this question:
In Outliers, the premise is simple: Why do some people succeed far more than others? Gladwell argues that (this is taken directly from the inside flap) if we want to understand how some people thrive, we should spend more time looking around them at such things as their family, their birthplace, or even their birth date. The story of success is more complex and a lot more interesting than it initially appears.
Gladwell dedicates an entire chapter to what he calls the 10,000 Hour Rule. In that chapter he asks a very simple question: is there such a thing as innate talent? Which is to say, are there some people out there who are just naturally gifted and just float by effortlessly to the top of their chosen field/hobby/sport/what-have-you? The obvious answer is, yes. However, in typical Gladwell fashion, he digs a little deeper.
Gladwell points out that the problem with this view (natural talent) is that the closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to play and the bigger role preparation seems to play. Gladwell notes:
The idea that excellence at performing a complex task requires a critical minimum level of practice surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.
What separates elite violinists from good violinists to those who only end up music teachers? Practice. 10,000 hours to be exact. Why is Bill Gates able to take baths in hundred dollar bills? He spent hours upon hours (hello, 10,000) honing is computer programming skills as a high school student.
The point is, if you want to be great in anything, youre not just going to get by with talent alone.You have to attend seminars, network, and read more than two books.
Question: How can I control the intensity of my painting?
Answer: I would like to answer this by directing anyone interested in intensity to an excerpt of our book "Guide to Mixing & Using Color". Click here to download information on intensity as it is very complex. The upside is that this will start you on your journey of 10,000 hours!
Question: How do you mix a value scale?
We have successfully taught a value scale method of mixing colours for several years. There is a sequence that begins with describing the colour you want by naming its hue, value, and intensity. You will notice that in the colour formulae given in each colour plan the mixing begins with the medium value. The exception to this is when the medium value is very dark. Then it is more efficient to work up from the lowest value.
Medium value (also called mass tone, body tone, or local colour) is established first. This value can be light or dark, dull or bright, warm or cool. It depends on where it is to be used. Since this mixture will establish the dimension and importance of the object it should be tested on the surface where it is to be used. Optically it may appear correct on the palette but the surrounding and background colours affect how it appears visually.
Light values are mixed next. These are not only lighter in value but also become progressively brighter and warmer. Ifthe object is large, three or more values may be required. A small object may only need one light value.
Dark mixes are not only darker in value but become progressively cooler and duller. One to three dark values may be needed depending upon the size of the object or space.
When mixing the high dark values for fruits and flowers be cautious about over neutralizing this tone. It is important that the high dark be warm and fairly bright. This will keep the fruit or flower living. When the colours are too dull this essence is lost.
How we wish we could formulate mixes to say 3 parts TW to 1 part UB. It doesnt work that way unless circumstances are strictly controlled. The mixture changes optically once it is applied and if any of the conditions change, such as a different background or personal choice, then the mixture must be adapted. Once again, train the eye to see and the brain to analyze if the colour is appropriate.
Steps to mixing a colour:
Step One:
The medium value or body tone is mixed first
The colour family of the object is the first consideration.
(These are the pure colours on the colour wheel.)
Step Two:
Value is the next consideration.
The value is raised by adding white, gray, lighter neighboring colour or a lighter earth tone.
The value is lowered by adding black, darker gray, darker neighbor colour or a dark earth tone.
In each of the above additions, not only the value changes but coincidentally so does the intensity.
Step Three:
Intensity is usually the next consideration.
Lower the intensity by adding black, white, gray, earth tone or complement.
Temperature needs to be taken into account.
Refer to Temperature in the vocabulary section.
The colours may need to be adjusted. This may require a few more steps to achieve the colour.
Has the colour shifted into another family?
Did the value change when the mix was neutralized?
Overneutralizing can be corrected by adding the pure hue
that created the colour family.
Finally, analyze how the colour looks in the composition Once the medium value is determined to be appropriate, then mix the lighter and darker values using the guidelines in the beginning of this section.
We have successfully taught a value scale method of mixing colours for several years. There is a sequence that begins with describing the colour you want by naming its hue, value, and intensity. You will notice that in the colour formulae given in each colour plan the mixing begins with the medium value. The exception to this is when the medium value is very dark. Then it is more efficient to work up from the lowest value.
Medium value (also called mass tone, body tone, or local colour) is established first. This value can be light or dark, dull or bright, warm or cool. It depends on where it is to be used. Since this mixture will establish the dimension and importance of the object it should be tested on the surface where it is to be used. Optically it may appear correct on the palette but the surrounding and background colours affect how it appears visually.
Light values are mixed next. These are not only lighter in value but also become progressively brighter and warmer. Ifthe object is large, three or more values may be required. A small object may only need one light value.
Dark mixes are not only darker in value but become progressively cooler and duller. One to three dark values may be needed depending upon the size of the object or space.
When mixing the high dark values for fruits and flowers be cautious about over neutralizing this tone. It is important that the high dark be warm and fairly bright. This will keep the fruit or flower living. When the colours are too dull this essence is lost.
How we wish we could formulate mixes to say 3 parts TW to 1 part UB. It doesnt work that way unless circumstances are strictly controlled. The mixture changes optically once it is applied and if any of the conditions change, such as a different background or personal choice, then the mixture must be adapted. Once again, train the eye to see and the brain to analyze if the colour is appropriate.
Steps to mixing a colour:
Step One:
The medium value or body tone is mixed first
The colour family of the object is the first consideration.
(These are the pure colours on the colour wheel.)
Step Two:
Value is the next consideration.
The value is raised by adding white, gray, lighter neighboring colour or a lighter earth tone.
The value is lowered by adding black, darker gray, darker neighbor colour or a dark earth tone.
In each of the above additions, not only the value changes but coincidentally so does the intensity.
Step Three:
Intensity is usually the next consideration.
Lower the intensity by adding black, white, gray, earth tone or complement.
Temperature needs to be taken into account.
Refer to Temperature in the vocabulary section.
The colours may need to be adjusted. This may require a few more steps to achieve the colour.
Has the colour shifted into another family?
Did the value change when the mix was neutralized?
Overneutralizing can be corrected by adding the pure hue
that created the colour family.
Finally, analyze how the colour looks in the composition Once the medium value is determined to be appropriate, then mix the lighter and darker values using the guidelines in the beginning of this section.
12/28/08: Happy New Year - almost!
I hope this coming year is as great as the last! Our son Christopher is getting married August 1 and then off to pursue a PhD in Philosophy while his Janey obtains her MFA in Poetry. Our Anna Marie is almost finished with Catholic grade school and off to conquer high school in the Fall.
Ann and I are busy painting up the seminar projects for 2009. I am finishing up painting a Dutch Old Master Floral while Ann is creating an exciting Still Life. I hope the Floral is finished this weekend!
Online under seminar schedule, you can see the Color Sense line drawings, Louise Jackson's watercolor workshop choices and our 2009 Cruise paintings. We have 37 cruisers going with us this year with 21 painters aboard! I guess the non-painters will just have to relax, tan and eat. We plan on having another Cruise Paint-in around the same time next year.
The Interactive Class is new this year. We hope to have an ongoing class as this is the best option to reach painters far and wide. We have students as close as Missouri and the Dakotas and as far away as New Zealand. Technology will allow us to paint together even though we are far apart. Think about joining us - it starts January 12th and you can read more under Interactive Class on our Home Page.
Happy New Year and I hope the coming year blesses you like the last one blessed us,
Mary
Ann and I are busy painting up the seminar projects for 2009. I am finishing up painting a Dutch Old Master Floral while Ann is creating an exciting Still Life. I hope the Floral is finished this weekend!
Online under seminar schedule, you can see the Color Sense line drawings, Louise Jackson's watercolor workshop choices and our 2009 Cruise paintings. We have 37 cruisers going with us this year with 21 painters aboard! I guess the non-painters will just have to relax, tan and eat. We plan on having another Cruise Paint-in around the same time next year.
The Interactive Class is new this year. We hope to have an ongoing class as this is the best option to reach painters far and wide. We have students as close as Missouri and the Dakotas and as far away as New Zealand. Technology will allow us to paint together even though we are far apart. Think about joining us - it starts January 12th and you can read more under Interactive Class on our Home Page.
Happy New Year and I hope the coming year blesses you like the last one blessed us,
Mary
Finished and my new favorite painting until the next one!
11/01/08: Harvester Girl Stage Three!
I hope to finish tonight during the Nebraska vs Oklahoma (Okla-who?) game. I am so close that I have to force myself to do what I have to rather than finish. Today is the deadline for submitting to the HOOT show in August so I am off to the post office.
