Those of us who love books know what it’s like to go a little overboard in our collecting addiction! hobby. Once we run out of shelf space, we find new ways to stack, store, and display these treasures. If you’re like me, even your kitchen is game–under my wine rack I have two shelves dedicated to cookbooks. While I’ve never read them from cover to cover, they offer endless advice, and I value having them to refer to when I’m looking for a little structure for the next meal, rather than just throwing together random things that I find in the refrigerator and cabinets.
600 Watercolour Mixes also includes a chapter on Finding Your Subject: “This painting is more about sky than landscape,” says Sharon, “though the diminishing river and trees provide a sense of space. The clouds are achieved by leaving areas of white paper showing,then adding brushstrokes of grey to give them solidity. Vigorous brushstrokes add a sense of movement to the sky.”
But isn’t this the case for all reference books? When you’re passionate about something, it feels good to have something tangible in your hands to browse in your spare time, because while it doesn’t feel like work, it’s still honoring what you love: cooking, for example, and of course, art. That’s one reason that I chose Sharon Finmark’s 600 Watercolour Mixes, Washes, Color Recipes, and Techniques as one of my “Editor’s Picks” during the North Light Shop sale. It’s full of color combinations that you can use to inspire your next painting, or simply study for comparison (master works, as well as future possibilities). Here’s just a sample of what Sharon offers in this book:
Three Ways of Mixing Watercolours
Most watercolour paintboxes contain two pigments in each primary colour–red, yellow and blue–one in a warm and one in a cool version. The concept of warm and cool colours is an important one, as it is fundamental to successful colour mixing. Cadmium Red, Cadmium Yellow and Ultramarine are warm, while Alizarin Crimson, Prussian Blue and Lemon Yellow are cool. These are the colours you should get to know best and the ones you should use for your first experiments in colour mixing. There are three different ways for artists to mix watercolours, each producing a different effect. The following examples use ultramarine and alizarin crimson.
1. Palette Mixing By mixing pigments on the palette you can make a graduated range of colours, influencing them by altering the proportions of the colours in the mix. When you mix two primary colours together the resulting mix is a secondary.
2. Overlaying In this method of mixing, a glaze of one colour is laid over a dry area of another colour to produce the new colour.
3. Wet-Into-WetThe third way of mixing is also on the paper, but on damp or wet paper so that one colour merges into the other. Where they meet they produce a new colour. ~Sharon Finmark
Art Material Glossary Facts in books, information in glossaries, the ability to use them in our heads! If you are new to the arts you may have problems to decipher certain art material terms used in the arts field. Or you wonder what brand to get. To help you along, I added this little glossary as a guideline to make it easier to find the right materials when starting to draw or paint. Save Drawing Materials GRAPHITE PENCILS There are varied types of graphite pencils. When you buy a set, make sure that you get one with a 4h and 2h otherwise buy them single. All brands are really fine. I personally use the Faber Castell graphite and Staedler pencils. Staedler is cheaper and a little lighter than the Faber Castell. Faber Castell are the only pencils with an added inner core strength so that the pencils don't break inside when they fall. SKETCHPAD The paper we draw on is of importance. In my time as commercial illustrator I tried man...
Learn How to Draw a Dog with This Simple Step-by-Step Sketching Guide By Sara Barnes on September 4, 2019 How to Draw a Dog Body Step by Step The easiest way to start drawing anything is to break it down into its simplest form and then gradually refine its details. This makes even the most daunting subjects accessible. Photo: Jamie Street For this exercise, you’ll want to find a photo of a dog. Generally, it’s best to draw from life whenever possible—it helps keep your observation skills sharp. But for a subject like a dog, which moves a lot , opt for a still image instead. STEP 1: STUDY YOUR SOURCE PHOTO. Photo & art: Sara Barnes / My Modern Met Just because you aren’t drawing the dog from life doesn’t mean you’re free of observation. In fact, a photograph gives you even more opportunity to study your subject. Before putting pencil to paper, take time to look at your photo. Start to note all of the things you see. How are the legs...
STEP BY STEP OIL PASTEL PORTRAIT USING SCRAPING TECHNIQUE March 12, 2020 Team Camlin Articles Leave a comment Want to try your hands on a simple, yet interesting way of creating portraits? We have something special for you! Here’s a quick guide on how you can create a quick portrait with an easy Scraping Technique using Camlin Oil Pastels. What you will need: • Board • Camlin A4 Size Drawing Paper • Double Sided Tape • Camlin Oil Pastels & Scraping Tool Step 1: Take a blank A4 size Camlin Drawing Paper and tape it onto a board for support, with a Camlin Oil Pastel box and Scraping Tool by your side. Step 2: Grab some bright oil pastels from the wide number of shades available in the Camlin Oil Pastels box and start colouring various patches to create a colourful and vibrant base. Step 3: Using the black Camlin Oil Pastel, add a layer of black colour on the base colours, and keep colouring until you cover the whole paper. Step 4: It’s now time t...
1. Palette Mixing By mixing pigments on the palette you can make a graduated range of colours, influencing them by altering the proportions of the colours in the mix. When you mix two primary colours together the resulting mix is a secondary.
2. Overlaying In this method of mixing, a glaze of one colour is laid over a dry area of another colour to produce the new colour.
3. Wet-Into-Wet The third way of mixing is also on the paper, but on damp or wet paper so that one colour merges into the other. Where they meet they produce a new colour. ~Sharon Finmark
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