watercolor: a course taught by glenn hirsch
DESCRIPTION
The next session of this course will be on Tuesday nights starting February 11, 2014 at UC Berkeley Extension's San Francisco Design Center, for more information, email [email protected] or visit http://www.glennhirsch.com/id9.htmlTRANSCRIPT
Watercolor
A course taught by Glenn Hirsch
Andrew Wyeth
Watercolor and be precise and realistic, or loose and expressive
LANDSCAPE
Kevin Dame, student
J.M.W. Turner, 1840
John Singer Sargent, 1900
Student study of Winslow Homer
Robert Bechtel, watercolor, 1985
Robert Bechtel, watercolor, 1985
Edward Hopper, watercolor 1920
Winslow Homer, watercolor, 1903
Raoul Dufy, watercolor, 1920
Gustav Moreau, watercolor, 1885
STILL LIFE
Emile Nolde, 1920
Joseph Raphael, 1980
Charles Demuth, 1920
Mary Snowden, watercolor, 1980
artists in art history using watercolor
Eugene Delacroix, 1835
Watercolor study for an oil painting
Claude Lorraine, ink study, 1630
Field study, watercolor, 1850
Van Gogh
Berthe Morisot, watercolor study, 1885
Claes Oldenberg, watercolor study for a monumental sculpture
FIGURE AND PORTRAITS
Andrew Wyeth, watercolor
Andrew Wyeth, watercolor
Emile Nolde, watercolor 1930
Emile Nolde, watercolor 1930
Elizabeth Peyton, watercolor, 1995
Louise Stanley, watercolor 1996
John Singer Sargent, watercolor, 1910
Oskar Kokoschka, watercolor, 1930
Raoul Dufy, watercolor, 1910
Georgia O’Keeffe, watercolor, 1920
Watercolor and be precise and realistic, or loose and expressive
examples of
ABSTRACTION
Helen Frankenthaler
Mark Rothko
Fred Martin
Fred Martin
Fred Martin
Color theory to enhance the illusion of “light”
What’s the ‘true color’ of the house?
It depends on the time of day and the weather
The ‘real’ color doesn’t exist independently of the light
Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light
Since color is “relative,” we use warm and cool versions of each color to enhance the feeling of “light”
Chromatic scale to enhance the illusion of “light”
Lighter b/w value in the light
Brighter intensity in the light
Warmer (orangey) red in the light (vs bluer purplish) in the shadow
Watercolor Technique
Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next
Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next
Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next
Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next
Work from light to dark, reserving the white paper where you want white color
Allow each step to dry before proceeding to the next
You can also touch-up white areas with white acrylic paint
Picasso, watercolor and gouache, 1910