Online e-course

Keeping Up with Karlyn II

Lesson Syllabus

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Learn By Doing

These lessons have been carefully selected to inspire and motivate you to play with watercolor and mixed media. This e-course focuses on “off the beaten path” techniques that will move you towards a more non-traditional approach.

LESSON 1

Flowers...Going Beyond Realism, capturing the essence of recognizable subjects

LESSON DESCRIPTION

This lesson is a balance of negative and positive painting. Blending the background with your subject or blending one shape into another will add variety to your composition. A lot of this relationship is actually a spontaneous and intuitive process. Just let it happen. This first lesson will focus on semi-abstraction. My love for realism and my love for abstraction comes together in this lesson. To begin, study your subject and decide on the shapes, colors and textures you want to use in your painting, Some parts of the subject may be painted more realistically and other parts may be more abstracted. Push and pull the tension to arrive at a semi-abstract interpretation. This lesson allows us to focus on the elements of design and to express ourselves in a very personal way.

The key focus in this lesson is the balance of negative and positive painting and lost and found edges. We are trying to capture the essence of a flower, both familiar and sometimes made up. We will start with a spontaneous, free underpainting and later try to pull in a bit of realism.

We will push and pull this tension to arrive at a semi-abstract interpretation. Blending the background with our subject or blending one shape into another will add variety to our composition. A lot of this relationship is actually an intuitive process. So, just let it happen. This lesson will focus on semi abstraction. My love for realism and my love for abstraction comes together in this lesson. To begin, study your subject and decide on the shapes, colors and textures you want to use in your painting, Some parts of the subject may be painted more realistically and other parts may be more abstracted. Push and pull the tension to arrive at a semi-abstract interpretation. This lesson allows us to focus on the elements of design and to express ourselves in a very personal way. The images below have no pencil lines.

Process:
1. This lesson starts with a wet into wet underpainting. While the surface is wet, take some risk and add BRUSHO and salt and even throw some sprinkles of water onto the surface. This breaks up the surface and makes it possible for you to find floral shapes. Just for fun, cut up wax paper and let it drop onto the wet surface. Taking some risks in this early stage will result in these lovely textural surprises. Let this underpainting dry.
2. Begin finding your flowers and either draw in those shapes with an HB pencil or negatively paint around the shapes. The biggest challenge is that you do not paint around the entire shape. This will kill the fresh look you are trying to attain. Select about three places to define the flower and leave the other sides without definition.
3. When you paint the flowers keep the petals light against the dark background and paint the petals dark against the light background. Leave much of the background as the underpainting, try not to overwork your composition. Remember we are trying to only capture the essence of flowers and leave some of the areas as abstraction.
4. The final touch is to add your darkest darks. Remember to not overdo this path of dark, just get in and get out and lose the edges.

This drawing is available to download at no charge.

Download PDF (Click here)

MATERIALS LIST

Watercolor Paint
• BRUSHO. (These are highly-pigmented, transparent watercolor/ink crystals. You can sprinkle the powder with a dry brush or dissolve the crystals in water or simply sprinkle from the jar. They are non-toxic and non-hazardous. They have been around for over 35 years.)
Arches 140# paper

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LESSON 2

Designing Expressive Lines

A Triple Header

LESSON DESCRIPTION

DRIZZLE ZEBRAS

1. The first lesson is to learn how to “drizzle” a line using GLOSS black acrylic. We will use a satay stick to drizzle the paint. Drizzling creates a line with character that varies from thick to thin and swings from in control to out of control. When you choose line the main means of expression, you can create an exciting and unique linear interpretation of just about any subject. Lines, either passive or dynamic, are an element of art that can pack powerful emotion and strong design. These black and white subjects are very popular. When framed, they fly out the door. The Gloss acrylic found at Walmart is the only acrylic paint that I have found that will drizzle off a stick. I have tried many brands and drizzling of a stick is not one of the qualities found in acrylic paint. The good new is that there is one a new product called “Tar gel” available that will make any acrylic drizzle. One of the brands is Golden Acrylics. This image used the drizzle method primarily, but the eyes, nose and the circular dots were created with the gutta bottle for more control.

This image is available to download at no charge. (Click here)

PAINT THREE ROOSTERS ON A FENCE OVER GUTTA BOTTLE LINES

2. The second lesson is these roosters perched on a fence using the Gutta Bottle filled with acrylic. I used the number 5 tip on my gutta bottle. My goal is to capture them in the early morning as they begin their busy day and to make them really colorful and full of personality.

This drawing with photo references is available at no charge. (Click here).

PAINT ZEBRAS OVER GUTTA BOTTLE LINES

3. Gutta bottle: Any acrylic paint can be used to fill the gutta bottle…GLOSS or Matt. I used the number 5 tip on my gutta bottle. After four trips to South Africa, I find zebras a very appealing subject. They love to cuddle. We will paint the zebras with a wet into wet approach. Draw the lines that define the zebras using the gutta bottle. Allow to dry. Wet the paper back and front and paint the subject wet into wet. I painted the stripes with Quinacridone gold, Quinacridone burnt orange and cobalt blue. I added manganese blue for a cool background. When the underpainting is dry, finish with a few hard edges.

This drawing is available to download at no charge.

Download PDF (Click here)

 

MATERIALS LIST

GLOSS acrylic paint from Walmart to drizzle
Any acrylic for the gutta bottle
Satay stick. A tool used to drizzle the paint.
Gutta bottle. Available at our online store for $3.00, includes the tip.
# 5 tip for thinner line using the gutta bottle
#7 tip for thicker line using the gutta bottle.gutta bottle
Tar gel (to make any paint drizzle, available through Golden, optional)
Gloves in a bottle. (Apply to your hands, it is like an invisible glove. Optional)

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 3

Abstracted Buildings

Going beyond the boundaries of realism and
perspective.

LESSON DESCRIPTION

3. Abstracted buildings

We will take liberties with painting buildings in a semi-abstract design. We will take the rules we learned in one and two point perspective, understand them and just do our own interpretation. We will superimpose building shapes over a fun and free abstract underpainting. We will welcome textures and surprises and unpredictable happenings. We will work spontaneously, instead of meticulously and rejoice instead of render. Starting the painting with a wet surface creates a spontaneous spirit. The wet paper also takes away some of the intimidation we feel when we look at a dry, white paper. As you add color, it flows, moves and creates energy all by itself. Painting actual realism can be tedious and not inspiring, but by working with the suggestion of reality and not allowing yourself to get bogged-down with the precise depiction of reality, this is a big step in breaking the boundaries of realism. This is a perfect time to show paintings that relies more on emotions, feelings, shapes, colors or anything the artist conceives to represent buildings. Many of these artists are painting their emotions more than reality. This “sense” of the subject is what I am interested in today….not the precise image. Some artists that I like that have this interpretive style are:

 

Download PDF (Click here)

MATERIALS LIST

Credit card, sprayer, paint and paper

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LESSON 4

How to Save "Old Dogs"

LESSON DESCRIPTION

I consider every painting as a unique piece that deserves all my attention as I try to transform this “Old dog” into a successful painting. I try to fix every painting somehow, someway! When you develop this mindset, you are ready to take the challenge to try anything that will work. This is when new discoveries happen. I look at this situation as an opportunity to develop new ideas. These paintings have been incubating for awhile and already have a lot of my intense energy to make them work and they still are not successful. I never give up, I think of these paintings as an opportunity to keep trying new approaches to make them successful.

As your stack of unresolved paintings rises to new heights, challenge yourself to save these paintings by any possible means. Almost every painting has some good elements that are worth saving. In fact, a lot of paintings are not a failure, they simply are not finished. People give up too soon. Get up, grab your old dogs that you have tried to rejuvenate or just pull out a painting from your sacred pile of old paintings. Try some of these ideas to hopefully and magically transform these “old dogs” into something wonderful.

1. Cropping. This is what most artists do to save a painting, simply select areas you like and only save that part. This is too easy, try to make the whole painting work before you give up and crop.

2. Add pastels, colored pencils or collage. This is a very forgiving way to save a painting. You just keep adding, moving and changing until you like the results. Then you glue them down. The possibilities are limitless when adding collage.

3. Veiling……glazing a thin veil (half white or half gold gesso and half water) over a painting. This is my “#1, go to” approach to save old dogs.

4. Another form of veiling….adding 10-gram Unryu Oriental paper over an entire painting. You must determine the side of the paper that has all the fibers and put that fiber-side up. The shiny side has no fibers and that side goes down on top of the painting. You can use acrylic medium, either gloss or matte or YES Paste. The acrylic medium does not allow you to paint over the surface. The YES Paste allows you to paint over the surface. Start going the painting from the center and work out towards the edges. The paper will stretch, so be careful you do not glue the paper to the board underneath. Only 10-gram Unryu will work. I have it available here at the gallery own my online course for $2.00 a sheet.
Another approach is to glue multiple pieces over the painting. I just keep adding pieces of Unryu over the parts I do not like and this veiling pulls the unsuccessful parts into the background.

5. Adding black lines to unify the painting. Darks. Like lights have a way of unifying a painting. Simply link the darks so they emphasize the focal area.

6. Rip up the painting and glue the parts down as a form of collage paper. This has been a tried and true way to use old paintings in a very creative way.

7. Cut up into cards and bookmarks. When I have tried everything and still I have not had success, I make cards. I can be free at last….not held hostage by my pile of unfinished paintings. Many times these cut-up paintings have ideas in them. I feel reborn, ready to move on to another adventure. A paper cutter is essential. I purchase Strathmore cards in two sizes with the matching deckled edge and with the help of double stick tape, these quickly become cards.

8. Wash off the surface with a sprayer or hose or under running water with a brush.

9. Gessoed surface. Take an old dog, paint gesso over it and paint on top of this new surface. (Like lesson #7)

10. Weave paintings together. This approach goes way beyond watercolor, you are now experimenting with a whole new form of expression. I think weaving a picture together is a lot like painting. I frequently weave the paint over and under shapes in my painting.
To weave several paintings together, select several paintings that are contrasting in color or texture. Try to design in a unique and irregular pattern to your weaving. Cut, rip and vary the sizes and shapeshifter you weave them together. Glue the ends down in place Often, weaving two paintings together makes a better painting. I have often taken what was planned to be a diptych and turned two paintings into one.

11. Adding shapes into the painting. This face-fit really pushes the boundaries of watercolor. You can add darks or lift out whites. Simply design in new shapes with a pencil and start adding darks against lights and lights against darks. It can be that simply. What do you have to lose.

Bonus lesson: how to save a painting. Glazing with a thin veil of white (half gesso and half water) or gold gesso will usually save these paintings. Filmed this using a red abstract painting and glazing white layers of veils to soften edges and form a path of light through the painting.. Already filmed.

 

Download PDF (Click here)

MATERIALS LIST

Unryu
YES Paste
Scissors

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 5

Gold Gesso and Watercolor

LESSON DESCRIPTION
  1. Improvisation with control using gold gesso, spray paint and watercolor.

This gold gesso produced by Daniel Smith was introduced and loved, then they discontinued the product and happily it is now back and all artists are rejoicing. You can use this product as a ground for your watercolors. You will experience some resist but you will love your results. I like to combine the gold gesso with my traditional watercolor subjects because it adds a little bling.

  1. Draw any subject with an HB pencil. I find fruit or vegetables to be a colorful and perfect subject for this team of unique materials. I choose radishes for my demo because our son has a restaurant called the Fat Radish and this leafy, colorful subject with a trailing root is a perfect subject. Treat the subject like an abstract design, carefully overlapping and interlocking the shapes throughout the composition.
  2. Design and paint in a dark path of color behind and around your subject negatively to create a strong contrast.
  3. Paint gesso in all other background areas making sure to have a lost edge as it leads into the dark path.
  4. Paint the subject by setting the shape and dropping in the color. Enrich the color harmonically.
  5. Here is where the fun really begins, using a metallic spray and a stencil, place the stencil in a position to help construct a subtle background. Really enhances the composition, because you are so close to your work, be careful of the overspray. It is best to spray outside and wear a mask.

 

Download PDF (Click here)

MATERIALS LIST

Gold gesso
Stencil
Metallic spray paint

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LESSON 6

Guest Artist

Kathie George

LESSON DESCRIPTION

Click on the lesson to see description and lesson materials.

You can download and print.

Little French Pitcher Batik

Download PDF (Click here)

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LESSON 7

Painting Flowers Over a Gessoed Surface

LESSON DESCRIPTION

The key focus in this lesson is the balance of negative and positive painting and lost and found edges. We are trying to capture the essence of a flower, both familiar and sometimes made up. We will start with a spontaneous, free underpainting and later try to pull in a bit of realism.

We will push and pull this tension to arrive at a semi-abstract interpretation. Blending the background with our subject or blending one shape into another will add variety to our composition. A lot of this relationship is actually an intuitive process. So, just let it happen. This lesson will focus on semi abstraction. My love for realism and my love for abstraction comes together in this lesson. To begin, study your subject and decide on the shapes, colors and textures you want to use in your painting, Some parts of the subject may be painted more realistically and other parts may be more abstracted. Push and pull the tension to arrive at a semi-abstract interpretation. This lesson allows us to focus on the elements of design and to express ourselves in a very personal way. The images below have no pencil lines.

Process:
1. This lesson starts with a wet into wet underpainting. While the surface is wet, take some risk and add BRUSHO and salt and even throw some sprinkles of water onto the surface. This breaks up the surface and makes it possible for you to find floral shapes. Just for fun, cut up wax paper and let it drop onto the wet surface. Taking some risks in this early stage will result in these lovely textural surprises. Let this underpainting dry.
2. Begin finding your flowers and either draw in those shapes with an HB pencil or negatively paint around the shapes. The biggest challenge is that you do not paint around the entire shape. This will kill the fresh look you are trying to attain. Select about three places to define the flower and leave the other sides without definition.
3. When you paint the flowers keep the petals light against the dark background and paint the
petals dark against the light background. Leave much of the background as the underpainting, try not to overwork your composition. Remember we are trying to only capture the essence of flowers and leave some of the areas as abstraction.
4. The final touch is to add your darkest darks. Remember to not overdue this path of dark,
just get in and get out and lose the edges.

 

Download PDF (Click here)

WATCH THE PREVIEW

MATERIALS LIST

Watercolor Paint
• BRUSHO. (These are highly-pigmented, transparent watercolor/ink crystals. You can sprinkle the powder with a dry brush or dissolve the crystals in water or simply sprinkle from the jar. They are non-toxic and non-hazardous. They have been around for over 35 years.)
Arches 140# paper

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LESSON 8

Semi-Abstract Themed Watercolor

LESSON DESCRIPTION
  1. Semi-Abstract Themed Watercolor.

When painting an abstract that contains some realism, this impressionistic style of working leaves a lot of interpretation to the viewer. You want a subject that excites the viewer, that contains little recognizable material and actually forces them to use their own interpretation. I think looking at an abstract is like listening to poetry…the experience portrays just the essence and often this touches the viewer more than pure realism.

Select a theme like Africa, any travel experience, fall leaves, grapes, etc, and start observing what colors represent this theme and what textures reveal the essence of your theme. Then collect labels, napkins, papers, event tickets, any mixed media that can enhance this theme. These collage materials breathe in a new reality to your painting.

Step by step instructions:

  1. Start with a small sketch of shapes. Wet your paper on both sides and start laying in the color.
  2. While still wet, add paper, labels, napkins and anything that will perk up the soft color.
  3. Add gauze for lines. Allow to dry and glue any collage materials in place with YES Paste.
  4. Use stencils and watercolor pencils for additional color and texture. Be sure to wet the surface before and after you sand.

 

Show Cave painting. Show Sedona rocks

Butterfly painting in memory of my mother

Picasso. Very emotional painting that spoke to the world

Bonus lesson: This is a preview for our next lesson. This lesson was actually started with an abstract pour and later was changed to a “less is more” interpretation. The poured piece felt like a great back drop for one of my favorite subjects, San Marco in Venice. Enjoy

 

Download PDF (Click here)

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 9

Abstract Pouring and Mixed Media

LESSON DESCRIPTION

The key focus in this lesson is the balance of negative and positive painting and lost and found edges. We are trying to capture the essence of a flower, both familiar and sometimes made up. We will start with a spontaneous, free underpainting and later try to pull in a bit of realism.

We will push and pull this tension to arrive at a semi-abstract interpretation. Blending the background with our subject or blending one shape into another will add variety to our composition. A lot of this relationship is actually an intuitive process. So, just let it happen. This lesson will focus on semi abstraction. My love for realism and my love for abstraction comes together in this lesson. To begin, study your subject and decide on the shapes, colors and textures you want to use in your painting, Some parts of the subject may be painted more realistically and other parts may be more abstracted. Push and pull the tension to arrive at a semi-abstract interpretation. This lesson allows us to focus on the elements of design and to express ourselves in a very personal way. The images below have no pencil lines.

Process:
1. This lesson starts with a wet into wet underpainting. While the surface is wet, take some risk and add BRUSHO and salt and even throw some sprinkles of water onto the surface. This breaks up the surface and makes it possible for you to find floral shapes. Just for fun, cut up wax paper and let it drop onto the wet surface. Taking some risks in this early stage will result in these lovely textural surprises. Let this underpainting dry.
2. Begin finding your flowers and either draw in those shapes with an HB pencil or negatively paint around the shapes. The biggest challenge is that you do not paint around the entire shape. This will kill the fresh look you are trying to attain. Select about three places to define the flower and leave the other sides without definition.
3. When you paint the flowers keep the petals light against the dark background and paint the
petals dark against the light background. Leave much of the background as the underpainting, try not to overwork your composition. Remember we are trying to only capture the essence of flowers and leave some of the areas as abstraction.
4. The final touch is to add your darkest darks. Remember to not overdue this path of dark,
just get in and get out and lose the edges.

 

Download PDF (Click here)

MATERIALS LIST

Watercolor Paint
• BRUSHO. (These are highly-pigmented, transparent watercolor/ink crystals. You can sprinkle the powder with a dry brush or dissolve the crystals in water or simply sprinkle from the jar. They are non-toxic and non-hazardous. They have been around for over 35 years.)
Arches 140# paper

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*Disclaimer – Example of Lesson. Not the actual lesson.

*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 10

How to Paint Where the Sun Don’t Shine

LESSON DESCRIPTION

How to paint where the sun don’t shine.

I have experienced traveling to a location and there is no sun. I either chose a place where “the sun will never shine”, which I have done on a number of occasions or the sun simply is not out. When this happens, I create my own “path of light” and simply paint the subject over this underpainting. In fact, I travel with pre-painted underpainting with this pattern of light on them. You simply use all the skills you know about painting your subject and this lovely “path of light” will shine through your final painting.

There are no special materials needed for this lesson.

Prepare an underpainting and draw over this toned paper. When there is no sun to create the cast shadows, it is a real treat to just draw over toned paper and create the illusion of adding sun.

Bonus lesson. Path of light on a wet surface is easy and fun. Pages 42-43. Greece. WWB, 2010. Demo 9

Bonus lesson. Creating a path of light on dry paper-learning to color

“Outside the lines”. Prague WWB. 2010. Demo 11.

 

Download PDF (Click here)

MATERIALS LIST

There are no special materials needed for this lesson.

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LESSON 11

Creating Textural Surprises or Planned Accidents

LESSON DESCRIPTION

How to paint where the sun don’t shine.

I have experienced traveling to a location and there is no sun. I either chose a place where “the sun will never shine”, which I have done on a number of occasions or the sun simply is not out. When this happens, I create my own “path of light” and simply paint the subject over this underpainting. In fact, I travel with pre-painted underpainting with this pattern of light on them. You simply use all the skills you know about painting your subject and this lovely “path of light” will shine through your final painting.

There are no special materials needed for this lesson.

Prepare an underpainting and draw over this toned paper. When there is no sun to create the cast shadows, it is a real treat to just draw over toned paper and create the illusion of adding sun.

Bonus lesson. Path of light on a wet surface is easy and fun. Pages 42-43. Greece. WWB, 2010. Demo 9

Bonus lesson. Creating a path of light on dry paper-learning to color

“Outside the lines”. Prague WWB. 2010. Demo 11.

 

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LESSON 12

Guest Artist

Barbara Barrett

LESSON DESCRIPTION

Lesson 12?

 

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LESSON 13

Birds and Surf and Sailboats in the Sunset

A double feature of alla prima approaches

LESSON DESCRIPTION
  1. Birds and surf. I plan to paint busy shorebirds with breaking waves. This subject is exciting to watch and even more fun to paint.
  2. Sailboats. Filmed before a live audience in August, 2019.

Water is a marvelous subject because this transparent liquid reflects light, creates dynamic contrasts and moves. The best approach to painting water is to put down the color on a wet surface and then lift it away.

Wet-into-wet is a fun process of discovery. The way the colors meet and mingle creates a glowing effect. This birds and surf lesson uses wet-into wet and randomly dry paper. Each surface gives a very different effect and ultimately looks like waves breaking. You actually are in charge and by throwing, dropping and lifting you can create the movement of water. I plan to show you an approach to create this movement in the water and as you try this process, you will discover your own approach.

Using Arches 140# or 300# paper is the best choice. This paper has good sizing on the front of the paper and this allows the colors to move around and be lifted to form the surf. The sizing in Arches keeps the paint from soaking into the paper and allows lifting. A paper that is not properly sized will not work.

This is an alla prima or “all at once” experience. You need to let the colors intermingle and then lift the colors without any interruptions or distractions.

Enjoy this magical time because when you are finished, you should not go back and do more to your painting. This will destroy the “alla prima” look.

I finished the painting by mixing Quinacridone burnt orange with ultramarine blue to form a dark black. I like this color because it is a non-staining mixture and allows me to lift if necessary.

  1. Sailboat was filmed before a live audience in August of 2108. The sailboat as drawn and protected with clear masking sand my sun/moon was cut out of wax paper. I started by wetting the paper on both sides and featured a focus of light using Aureolin yellow, Quinacridone coral and cobalt blue. The mountains were created by lifting the color with a tissue. The moon was placed onto the wet surface with the grain in a horizontal position. The entire painting was completed with the same triad of color.

With the mixed colors of the original triad, namely aureoles yellow, cobalt blue and Quinacridone coral, I mixed a grey-downed purple and finished the silhouette of the sailboat.

3. Finished a sailboat painting using a Rembrandt triad of Quinacridone gold, Quinacridone burnt orange and Indigo. I added the darks to the sail. Quinacridone gold in the water and scratched out some final whites in the surf behind the sailboat with a razor.

 

Download PDF (Click here)

MATERIALS LIST

Arches 140# or 300# paper is the best choice

Quinacridone: burnt orange, ultramarine blue, coral, cobalt blue, gold and Indigo

Aureolin yellow

tissue

a razor

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*Disclaimer – Example of Lesson. Not the actual lesson.

*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 14

Less is More

LESSON DESCRIPTION

We have all heard the saying “Keep it simple” or “KISS: which means “keep it simple stupid”. This could be the mantra for most paintings. It is better to ask, what can I leave out or take away rather than what can I add.

I absolutely love paintings that fall into the category I call “less is more”. I have been working in this direction for years. Every time I go out on location, I try to paint the essence of what is there and not try to take in the entire scene. I usually accomplish this by observing the scene and selecting the most appealing subject. If I am excited about the subject, my work shows this enthusiasm. I pick the theme and apply all my energy into that area and either leave out or simplify the rest of the subjects.

KISS Procedure:

  1. Observe your subject
  2. Start composition with pencil
  3. Add pen lines when ready to make a statement
  4. Add color

 

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MATERIALS LIST

HB pencil

Archival ink pen, like Staedler,

140# watercolor paper, prefer cold press

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 15

Elegant Writer Pen and Charcoal

Double Feature

LESSON DESCRIPTION
  1. Powdered Charcoal is a perfect media for a subject like rocks, milkweed and roots. Powdered charcoal is used to improve wrinkles, whiten your teeth and in many art projects. I really like the textures you can achieve by sprinkling this powder on your watercolor paper and throwing water over it. Charcoal is burnt organic material, typically wood. It comes in different forms such as stick, powdered and in pencils. Vine charcoal is softer and always round. Compressed charcoal comes in a stick and can be round or square. There is also a white compressed charcoal. We will be using “powdered charcoal”.

Step by step process.

  1. Draw your subject with an HB pencil. Use masking to save any fine-lined whites. Wet areas to be saved as whites because the charcoal will not stick to a wet surface. Go to an outside area and on the remaining dry paper, sprinkle powdered charcoal over drawing. Have someone hold the painting or somehow secure the painting and throw water at the powdered charcoal.

Continue pouring water to clean up any extra charcoal. Lift any charcoal areas you do not want with a damp flat watercolor brush.

  1. After painting dries, remove masking and paint in selected darks.
  2. Elegant writer pen. Can also do the sheep and charcoal.

Bonus lessons:

  1. Watercolor, making your mark, Pages 30 and 31. WMM 2013. Lesson 1.
  2. Encore elegant writer. Page 162 WWB, 2010
  3. Daisies; newsletter and you tube.
  4. Cheap Joes: Several you tube lessons.

 

Download PDF (Click here)

MATERIALS LIST

Powdered charcoal

Kneaded eraser

Workable Fixative

Elegant writer pen with an extra fine tip

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 16

A Spontaneous and Random Approach to Starting Your Painting and How to Finish Your Painting with a Veil of Light

LESSON DESCRIPTION

Starting with a blank white paper is intimidating. This lesson is about starting spontaneously and randomly…..a very liberating way to begin. In my online class, one of my goals is to try and show you how to use materials and techniques that may be helpful for you to find your own personal “spark”. I started out trying to paint exactly what I saw. I developed basic skills in drawing and painting but then I felt a need to go beyond realism. I am hoping to inspire you to move to a more personal and individual style. In this lesson, we will start will a random approach to planning your composition.

Then for the final strokes in your painting, I will show you how to add whites with a thinned gesso that forms a “veil of light”. Another goal in this lesson to create a full range of values in your painting.

A problem that happens over and over again is repeating the same abstract design over and over. I find when I work from a pre-drawn thumbnail sketch, I keep painting the same idea over and over again. As soon as we find success with a design, we tend to repeat this same composition. Insider breaking out of this success binge and push yourself in a new direction. This random, drop the tissue approach is great for coming up with a unique composition. Usually I plan a cruciform composition but this drop the tissue approach is strictly random. Let it happen. You still need to use the principles of design to finish the painting, but at least the initial approach is fresh

 

Step by step instructions:

  1. Starting with dry paper, drop tissues to form your basic composition. Draw around the shapes with a pencil and remove the tissue. Add color into these areas where the tissue dropped.
  2. Select a warm or cool color and develop these shapes into a flowing design of analogous colors.
  3. Add Unryu collage paper into these colors and spray well with your fine mister so the papers absorb the color. The color will appear darker.
  4. Add napkins, more color and develop textural excitement into your painting.
  5. Place plastic wrap over the light areas. This will allow you to add darks and create lovely textural areas in these light areas.
  6. Add stretched gauze and add more color over the gauze to add linear touches to your composition.
  7. Add the final darks onto the wet surface and let these papers and gauze dry. Remove the gauze and glue down the collage papers.
  8. The final step was to add lines with a pencil and start painting in a path of darks. These shapes were design to lead the viewer through the painting in an entertaining

 

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MATERIALS LIST

Gesso

Tissue

HB pencil

Plastic wrap

Gauze

Old credit card

1/2” flat brush

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LESSON 17

Guest Artist Wei Lan Lorber

Watercolor on Masa Paper... Guest artist Wei Lan Lorber and Karlyn

Double feature.

LESSON DESCRIPTION

1. Wei Lan will present a lesson on Masa paper. This traditional Asian (Oriental) style of painting can be a “new look” for any subject you chose. Buildings, still life, flowers, landscapes. Still life…any subject can be enhanced by trying this special paper. The finished painting looks like a batik with soft crackles in the background.

2. Karlyn will paint Koi. Japanese Masa Paper fractures the color into a beautiful network of lines similar to those found in Batik. The process is mostly wet-into-wet and results in beautifully textured areas that are perfect for painting Koi. Masa paper has a smooth and a rough side. You can work on either side, it all boils down to what you prefer. I like the smooth side, so mark the paper as smooth or rough before you begin the wetting process.

Can download the Koi photos and cut them out. One set is swimming one way and the other is reversed. (Click here)

Karlyn has enjoyed painting flowers using this paper and technique.

Koi on Masa
Prepare ahead: Stir together 90% Elmer”s Glue-All (not school glue) to 10% water. (I have a bottle for each of you)

Step One: Cut out the fish and place them on the masa paper. Think about overlapping some fish and take into account the directional movement they create. Draw around the fish on the smooth side of the masa paper with a HB pencil. Take a photo on your phone or IPad.

Step two: Follow the next set of directions carefully.
*Carefully crinkle avoiding long strait lines. Do not over crinkle.
*Soak in room temperature water for one minute.
*Place on a towel and gently press to remove excess water. Turn and do the other side.
*Place masa on a support like 140# paper. Place paper on plastic to avoid gluing your paper to the board.
*Lift back half the paper, drizzle glue onto the support paper and spread it out with an inexpensive bristle brush. Be sure to spread the glue beyond the edge of the paper.

*Roll out from the center of the paper with a brayer, being careful not to create creases.

*Repeat gluing and rolling on other half.

*Separate the plastic from the masa paper and throw away the plastic. Place on a board and softly roll again, check the edges in case they lifted off.

Step three: Apply paint to the fish and enjoy the batik-like crinkle-effect that just happens all by itself. After you are happy with the fish, add some color into the background to set the crinkle. Be sure to repeat some of the fish tone colors into the background.

Step Four: Add the darks to the background. This was really fun, just popping out the fish by adding darks and bright colors. I added full strength yellow to make the water on the green side. I also added quinacridone burnt orange and Antwerp blue for a very dark green. Adding the pure Antwerp blue was the most fun. Finding the rocks later was easy. I never drew in any rocks, they just appeared as I was adding the darks.

 

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MATERIALS LIST

*Old towel
*Cheap bristle brush (.59 at a hardware store)
*Brayer
*Backing board like plastic, wood or foam core
*140# paper (this does not need to be Arches, any old 140# paper will
work.)
*Plastic wrap like Saran wrap
*masa paper (available at our online store)

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 18

Monoprints..

LESSON DESCRIPTION

The art of mono-printing combines painting, drawing and printmaking,
allowing you to make one of a kind images. The images are reversed and
many factors are at play so that you create a unique image. The amount
of ink used, the suction from the lifting, the many surprise smudges from
touching the paper and many other factors influence the final result.

Step by step directions:
1. I chose masa paper for my preferred paper.. This strong, yet
lightweight paper is perfect for mono-printing. Masa paper has a
smooth side and a textural side, and you may use either, but I prefer
the smooth side. You can use the paper as is or you can prepare an
abstract composition of random, collage paper such as pre-stained
unryu, napkins, Ogura or any papers you prefer. Glue the papers down
with thinned YES Paste and allow to dry. Creating these textural
surfaces can lead to surprising and whimsical results.

2. Apply water-based printing ink to a plexiglass plate using a very small
amount of this water-soluble ink.

3. Use a brayer to work the ink up and down and back and forth until is
sounds sticky. Carefully place a piece of smooth masa paper or a paper
that has been prepared with collage face down onto the wet, inked
surface. Try not to touch the surface of your paper as this will form
smudges. The ink will hold the paper in place.

4. Draw your image on the paper with a sharp tool such as a ball point
pen. Keep the line work fresh and unique.

5. Lift the image from the plate. (You can do a mono print of the image
left on the plate is you wish.)

6. Allow the image to dry and then paint with watercolor. You can enrich
the surface by adding color sanding, brushwork, more collage papers or
watercolor crayons.
Bonus or Encore: Creating a unique line using mono-printing. Page 52-53.
WMM, 2013. DVD Lesson # 3

 

Download PDF (Click here)

 

MATERIALS LIST
  • Acrylic plate
  • Masa paper
  • Collage papers like unryu, ogura, etc
  • YES Paste
  • Water-based printing ink
  • Ball point pen
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*Disclaimer – Example of Lesson. Not the actual lesson.

*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 19

The Art of Montage

LESSON DESCRIPTION

A montage is an art form consisting of a selection of images that are combined to form one painting. The word montage literally means ”putting together”.
The biggest challenge when doing a montage is to find a way to unify all the elements of the painting.
There are many ways to do this such as, adding darks, interlocking shapes and unifying the colors so the images meld together. My mentor and famous artist, Betty Lynch from Texas presented me with this concept back in the late 90’s. She also taught at the La Romita School of Art and she often would visit these medieval hill towns and create these lovely montages.

Procedure:
Begin your montage by selecting images that are related. For the demonstration, I am selecting images from my recent trip to The Le Vieux Couvent in Southwestern France. The images change by the varying weather, time of day, area visiting, season and many other reasons too numerous to
mention. Sketching out the images was helpful so I could visualize the final interpretation

 

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MATERIALS LIST
  • Ink-pen
  • Watercolor
  • Watercolor paper
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LESSON 20

Designing Multiple Images

LESSON DESCRIPTION

This type of abstraction entails designing space so that the separate elements selected as your subject work as one. Pick a theme like seasons, flowers, a special place, etc and start placing the images together. Keep in mind the transitional areas and connecting shapes and lines must work together. Usually the key to a successful multiple space image is unified color and movement.

This style of abstraction entails designing space so the painting portrays multiple interpretations of a similar subject. Pick any theme like cycles of a flower or butterflies, seasons, rocks, reflections or water. The challenge is to paint with directional movement that flows within believable boundaries so the piece does not look patched together.

Most of these paintings are from multiple sources, such as photographs, life, memory, imagination and now the internet. Embrace this diversity, you need to break away from the comfortable and familiar route. Take some risks and enjoy the freedom to design your paintings in several segments that work together.

Guidelines to achieve a sense of unity in your design

1. Connecting lines of movement. (Show Drawing)

2. Varying size of relationships. (Show how to break up the space)

3. Balance shapes, such as positive mix to to negative, realistic next to abstract.

4. Work on transitional areas so they connect naturally

5. Do a unifying color start. (Focus of light). Place tape first.

6. Contrast. Design smooth surfaces next to textured, busy next to quiet, darks next to lights, cools next to warm, soft next to crisp. (Add cut shapes of collage and add to painting)

7. Use lost and found edges, Allow some edges to disappear and lead the eye to the adjoining area by using similar values next to each other or by leaving a rest area.

8. Connecting linear shapes. This provides directional movement and rhythmic patterns that entertain as well as guide the viewer from Ione shape to another.

Draw your subject. (Birch trees and rocks)

Wet the paper and place collage papers and color freely over the subject.

After the paper dries, glue down the collage papers ad allow to dry again.

Tape the picture into segments.

Finish with hard edges.

1. Designing a landscape theme. In this lesson, I plan to combine organic, as well as geometric elements. This combination creates wonderful visual tension. I chose birch trees for my vertical shapes and rocks for my horizontal shapes to interlock and integrate the composition.
2. Watercolor and drawing. I have always loved this look of areas left as a drawing and other areas painted.
3. Watercolor and watercolor pencils

 

Download PDF (Click here)

MATERIALS LIST

Ruler
Multiple references of the subject
Collage papers (optional) Arches 140# paper

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 21

Guest Artist

Bonnie Broitzman

LESSON DESCRIPTION

Bonnie is guided by her spiritual journey and expresses her paintings and poetry with a meditative, intuitive and spontaneous approach. She listens to her intuitive voice, and this trust in her inner self allows her to paint in an improvisational approach, allowing the colors and shapes to evolve into a finished painting.
Bonnie will share her insights into creating a painting by intuition. Bonnie has created her lovely paintings by wetting the paper, applying the color and just letting the images appear.
She will narrate and demonstrate her approach to letting a painting happen as she is in a meditative mood.
Materials are simply paint, brushes and paper.
Bonnie is an intuitive/meditative artist who approaches painting as a spiritual experience where she trusts the paint to reveal her inner voice through the use of the elements of art. Watercolor is a perfect media for this creative process of letting fluid, free-flowing paint express her inner
feelings. Watch Bonnie as she starts with a wet mix of free-flowing color and brings these lines, shapes and colors into a finished painting. All the years of painting realistically prepared her for this artful, intuitive style of expression. This reflective style of painting is a form of prayer. Bonnie is also a poet and often writes poetry that inspires her painting subject.

This style of abstraction entails designing space so the painting portrays multiple interpretations of a similar subject. Pick any theme like cycles of a flower or butterflies, seasons, rocks, reflections or water. The challenge is to paint with directional movement that flows within believable boundaries so the piece does not look patched together.

Most of these paintings are from multiple sources, such as photographs, life, memory, imagination and now the internet. Embrace this diversity, you need to break away from the comfortable and familiar route. Take some risks and enjoy the freedom to design your paintings in several segments that work together.

Guidelines to achieve a sense of unity in your design

1. Connecting lines of movement. (Show Drawing)

2. Varying size of relationships. (Show how to break up the space)

3. Balance shapes, such as positive mix to to negative, realistic next to abstract.

4. Work on transitional areas so they connect naturally

5. Do a unifying color start. (Focus of light). Place tape first.

6. Contrast. Design smooth surfaces next to textured, busy next to quiet, darks next to lights, cools next to warm, soft next to crisp. (Add cut shapes of collage and add to painting)

7. Use lost and found edges, Allow some edges to disappear and lead the eye to the adjoining area by using similar values next to each other or by leaving a rest area.

8. Connecting linear shapes. This provides directional movement and rhythmic patterns that entertain as well as guide the viewer from Ione shape to another.

Draw your subject. (Birch trees and rocks)

Wet the paper and place collage papers and color freely over the subject.

After the paper dries, glue down the collage papers ad allow to dry again.

Tape the picture into segments.

Finish with hard edges.

1. Designing a landscape theme. In this lesson, I plan to combine organic, as well as geometric elements. This combination creates wonderful visual tension. I chose birch trees for my vertical shapes and rocks for my horizontal shapes to interlock and integrate the composition.
2. Watercolor and drawing. I have always loved this look of areas left as a drawing and other areas painted.
3. Watercolor and watercolor pencils

 

Download PDF (Click here)

MATERIALS LIST
  • Watercolor paint
  • Brushes
  • Paper
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LESSON 22

Drawing "Zentangle-like lines"

LESSON DESCRIPTION

Lesson 22. Drawing “Zentangle-like lines”.
This popular style of doodling or drawing is very addicting and an enjoyable way to approach drawing. My friend Karen Knutson and I years ago wanted to add more drawing to our classroom programs and started working on an idea started by Paul Klee called “take your life for a walk”. We would draw by looking at the subject as much as drawing the subject and adding abstract designs into the background. Karen really took off with this idea and called her technique “wire drawings”. Her students love her approach and she has inspired herself, as well as her students to spend more time drawing these beautiful design-filled drawings. These idea-sketches then inspire them to paint in this semi-abstract style of painting. You can see the variety of subjects that Karen has selected such as birds and figures.
Another popular subject Karen has chosen is “funky women”. She and her students have had
so much fun tackling this unusual subject.
Karen also focuses on landscapes, farm scenes and total abstraction.

This is a perfect name for this lesson. The word “Zen” implies meditation and the word “tangles” implies interlacing patterns. I am suggesting that artists try this approach to enjoy this meditative style of drawing. If you type in zentangles on the internet, you will find lots of rules, videos, patterns and apps available to follow. Most of these presentations are very regimented. Karen and I were looking for a more personal and creative approach. We find this fun approach relaxing and even addicting. Another interesting thing is the number of adult coloring books available.
I had a very exciting experience recently at my Cheap Joes workshop. A lady came up to me and offered me to chose one of her beautiful Zentangle original designs. She had page after page of these colorful doodles. They had to take hours and she asked me to pick one out as a gift. When i picked one, she ripped it out of her tablet and gave it to me. I was touched and really impressed with all the creative energy she actually had spent on these drawing and she just gave one to me! What a gift.
I have always felt that drawing is an important part of being an artist. I wanted to add a drawing lesson to this course that would be as entertaining as it is beneficial. When we visited this colony of South African penguins this year I was overcome by the interesting markings on their bodies and their overall appeal in their body movement. They were always interacting with one another and almost posing for these photos. I took lots of photos and could not wait to start drawing these cute little guys. I added the Zentangle-like lines to form the dark shapes. It was easy to do and any subject will work.
My simple rules:
Design a shape and then by repetition start filling in these shapes with lines. You are already on your way to designing your own “tangles”. Do not limit yourself to non-objective design, try subjects with realism too.
Add darks and color if desired. Remember there are no mistakes.

 

Download PDF (Click here)

MATERIALS LIST

Materials:
Archival pen
Any paper

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*Disclaimer – Example of Lesson. Not the actual lesson.

LESSON 23

Fun and Free Gestural Abstraction

LESSON DESCRIPTION

23. Fun and Free Gestural Abstraction
Line is the easiest and most popular way to convey an idea. As kids, we freely drew our ideas and as we grew older, we became more tentative. This lesson is designed to be an inspiration for you to return to these free linear starts you did as a child. Just take risks and play. When we paint abstractly, we keep the joy of discovery and the creative process alive. Many abstract artists are attending classes on expressive drawing with Steven Aimone to “free the artist within”. They work primarily with line and shape, the first exercise they perform is to scribble lines on large sheets of paper as a preparatory way to free up their mindset. This idea inspired me to design a lesson using this important visual element of “gestural Line”.

1. Select your favorite colors in a decorative napkin and use these colors as your inspiration to make your own collage paper. Place a toilet seat cover over a small plastic bag. Using selected colors, color this biodegradable, tissuelike paper with color. The papers easily rip and form interesting edges and shapes. Do not be careful, actually push the paper and create very tortured edges. Allow to dry and peel free from the plastic.
2. On 140# dry paper, freely draw lines and shapes with a black watercolor pencil. Let this freedom be a joyful experience. Glue down collage papers (toilet seat covers and napkins) with thinned YES Paste.
Add collage papers to enhance the gestural movement created by the lines.
3. You can allow this underpainting to dry or simply start wetting the surface to activate the lines very carefully so as not to disturb the glued down papers. If they move a little bit, simply put them where you want them. Wet these lines with a gestural movement, leaving some areas dry. Keep in mind “lost and found” areas. Add more color and spontaneously approach adding more texture, color and lines to finish your painting. Color sand some areas to soften and create transitional areas. Add salt in transitional areas. Allow to dry.
4. Finishing the painting on dry paper allows you to develop more crisp areas, develop more darks, key up the colors, add more collage and enhance the values. Add more lines with your watercolor pencil.
5. Always spray any painting that has non-archival collage papers or metallic spray on it with Krylon acrylic gloss spray. This will help to archive those questionable materials.
6. (Bonus lesson. !. Fun and Free gestural abstract. P. 146-147. WMM)

Download PDF (Click here)

MATERIALS LIST

Materials:
140# paper
Watercolor pencil or Caron d”Ache watercolor crayon
Colored pencils
100-grit sandpaper
Stencils
Salt
Credit card
Collage paper you made from a toilet seat cover
Stamps. Stamp designs on unryu paper to use to soften and create
transitional areas.
toilet seat cover
Small plastic bag
YES Paste

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LESSON 24

Guest Artist David Smith

Painting From Two Perspectives

Filmed in Venice in September, 2018 on location. Double Feature

 

LESSON DESCRIPTION

24. Painting with a “bead of color”.
I learned this lesson in 1983 from Frank Webb. This painting of Venice illustrates the “bead of color” moving down a skyline in Venice. I originally painted this style of applying paint to a dry surface with more control. David Smith joined me on a recent International painting trip and volunteered to share his style of painting with a “bead of color” with us. It is listed as a bonus lesson below.
I will illustrate painting with a “bead of color” on a wet surface. It is still possible to change the color instantly and create a very wet into wet look. This direct style of painting also use gravity to move the color. The final painting has wet, misty appearance that has few hard edges and a fusion of colors.

1. Start this direct style of painting by wetting both sides of the paper. Place paper on a support board so you can elevate the top end. Start applying color from the top down. Add the sky color into your subject.
2. Continue adding color .
3. Add final touches on dry paper to create a few hard edges.
This canal in Venice was a perfect subject for this wet into wet approach to painting.

Bonus lesson by David R. Smith, filmed live in Spain on September 15, 2018.
David presented a technique using a bead of color. This was accomplished by painting a relatively thick paint on a dry surface with gravity pulling the paint down in a “bead” of color. He painted a wet on dry paper street scene photographed in Malaga with figures. He painted in three steps. The first stage was premixed thick and creamy watercolors placed on dry paper with the paper placed on an angle. Gravity moved the color down the paper as he added and controlled the color, saving the whites.
After the first wash dried, David added darks, foliage and interesting darker shapes to the action line.
After that dried, he added details to the figures and reflections of the figures in the foreground.

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MATERIALS LIST

Materials are traditional watercolor, brushes and 140# Arches watercolor paper.

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