Painting Demonstration : Summer Bridge - Ohio : Part Two
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- čas přidán 25. 06. 2024
- Hello Everyone,
+This is Part 2 of a start-to-finish watercolor painting demonstration recorded in real-time. In this video, I cover intention, composition, values, and color - as well as interpretation, design, formatting, drawing, sketching, and perspective, etc.
+The scene depicts a small Asian-inspired bridge at a Japanese Garden in Ohio very near where I grew up. I've re-interpreted the reference in my attempt to paint a personal emotional experience rather than just a scene.
Thanks for watching!
Tom
+This painting was done on Arches Watercolor Paper - rough surface - 300gsm :
+15x12 inches
+Pigments by Daniel Smith
+Brushes by Escoda and Neef
+Palette by House of Hoffman
+Sketch pencils by Blackwing and Faber-Castell
+Sketchbook by Stillman + Birn
Thomas W Schaller AWS NWS TWSA ASAI
www.thomaswschaller.com
thomaswschaller
thomaswschaller
Thomas W Schaller - Artist, Architect, Author
New York City - 2024 - Krátké a kreslené filmy
You're a good man, Thomas, sharing your knowledge and skills with us watercolour hobbyists. Your demonstration and teaching is much appreciated ❤
thank you so much!
Thank you, Tom. I love your honest commentary while you paint. To me, technique is obviously important, but listening to a master's approach to composition and how they structure their work is invaluable and greatly appreciated.
That means a lot - Thanks so much for watching Wayne
I am very aware of the great gift you are giving us by sharing your teaching with us, and I appreciate it so much!
thanks very much
Thank you Thomas! another beautiful painting with fantastic narration! Thank you!
Thank you.
Your knowledge is like a river runs from mountains through the ocean and meets with many others!
I admire most not only your technique olso your interpretation! It's important not only what to see olso how to see!
Emotions feeds creativity, mind puts them in right place! I believe we have many more things to learn from you, thanks as always!❤
Thank you so very much for the kind comment - I appreciate it
Another fantastic addition to your catalogue of techniques and applications that we are building up from your tutorials Tom. They always score 10 out of 10 for truthfulness and honesty in relation to your opinions on art and the true fun of painting, and they are always a brilliantly entertaining watch. Thank you so much.
Thanks so much for that Paul. I appreciate it very much
Thank you so much for your tutorials, I could listen to your explanations for hours. Great artwork as always.
Thanks so much
Thank you, Thomas, for sharing this lovely painting. I love your palette. Years ago you mentioned you used Lavender in some of your paintings....I love the way you used it here.....very effective; and the Permanent Orange is also an eye grabber, here.
thanks Judy
I love driving central Ohio and seeing the light in the fields and rural buildings, the crazy clouds, the broken barns.
those crazy clouds - the broken barns - very moving
Thank you so much Thomas for showing us your process for free! I so appreciate watching you paint and love the results! You give so many tips and instructions that I’m going to be trying to implement! ❤
Thanks so much
I love that you stay with Watercolor. So many are starting to use a lot of guache or acrylic and you have demonstrated that you can get anything done with Watercolor and it is gorgeous. Thanks for staying with Watercolor.
Thanks so much - It works for me
I like the lavender effect
That Permanent Orange really sets off the entire scene.
Thanks! It did seem to do the job
Thanks very much Thomas
Nice work Thomas
Thanks so much Kenny!
Thanks from germany for teaching me. I painted it, was so much fun. I learned a lot 👍
Vielen Dank!
Beautiful and thank you for sharing.
Thanks so much
Tom, your Zen energy always makes me want to grab my brush when I watch you paint. Thanks, Sensei for sharing with the rest of us.
:) Thanks!
👏👏👏👏 Bravo!!!!
It’s so inspiring
Thanks so much
Love the Ohio bridge Thomas. A grat exercise in lights and darks.
thanks so much Eric
You’re welcome. I will continue to follow your classes. I know you have a mentoring program but it’s a bit expensive for me. Take care
Please can you show a demo of Kinkaku-ji pavilion in Kyoto. It's so lovely in its natural settings. Thank you.
Superbe ❤❤❤
It is unbelievably beautiful! I love your use of colour and light. Also creating that lovely transparency in the water. I imagine you only use transparent paints for that.
Thanks and yes
So beautiful in it's simplicity. You are a good teacher. Thank you. 😊
thanks very much
Ive noticed that a lot of the other masters strategically use overworking to amplify depth...like Joseph Z. and Alvaro C. Your paintings instantly stand out to me because there is simply NO overworking anywhere, and you do this with class.
Would you say that avoiding overworking is more about taking the time to let things dry? Im still kinda new to this, but Im gradually getting smoother with my washes...Im just not quite sure how Im doing it.
Hi Scott. Thanks so much for the message. Overworking! Well. I'd love to say I never do that, but although I sometimes do, I try VERY hard to nail my values the first time out to cut down on the potential for having to. This keeps the result looking as fresh and transparent as possible. But again, while it is the goal - it is not always the reality. Taking a minute before I start painting to do a quick, scrappy little vale study does help enormously though
@@thomaswschaller thank you for the advice :) I will focus on this more
Thank you, so appreciate you sharing your knowledge 👏🎨
Thanks
I often look at your work and wonder how in the heck you do what you do. Being able to watch as you paint and especially to hear the thought process behind each color choice or brush mark is so very helpful. Travel and workshops aren’t feasible for everyone so thank you for sharing this with us!
So glad to hear it. Thanks Lori. Very true - Classes and workshops just don't work well for everyone - So I want to try to add as much content here as I can
Yah for cruelty free art !
🎨 👨🏻🎨 🤴🏻
So revealing. Thanks so much.
One more questions. You rightly say that tones are what set the atmospheric perception in a painting. Colors are not that important. Totally agree. However I love colors.
How could I approach a paining by achieving both, atmospheric impression through tonality and intense color use?
Thanks!
I think you misunderstand. My apologies. I love color too - It is called "watercolor" after all. What I said was that no color will work without a cohesive value design . Color carries the value throughout a work of course. There is a lot of color.in this painting for example. But the warm tones are designed to be light in value for the most part. And the cool tones are designed as darker in value
@@thomaswschaller Thanks for the answer. Based on your experience, could we achieve the atmospheric impression using more intense colors?
I am asking because I want to achieve some more intensity similar to other mediums like oil and acrylic. I am aware it can not be fully achieved.
Question 2. Are your switching to more Holbein paints? if so why? I am trying to get your same palette of colors and want to be sure about the brand.
Sometimes Holbein tend to be little less transparent. very useful sometimes.
Thanks again. You are a living treasure.
🙏🙏🙏🙏🙏🙏🙏🙏
@@ermalbino7715 In my opinion only, if you prioritize intensity and saturation too much - you begin to move beyond the realm of watercolor's beauty and more into the field of opaque color. But it is a personal choice of course.
I used to use Holbein exclusively, but gravitated more toward Daniel Smith for it's transparency and color-fastness, and integrity of pigment. I use about 85% DS and a few Holbein "special" colors only - specifically the more semi-opaque ones as "jewel" tones - the Lavender for example
@@thomaswschaller Thanks so much.