Figurative Watercolor Painting from Photographs
Location: Scottsdale Location
Room: TBA
Mar 29-Apr 2, 2010
Meets 9:00 AM-4:00 PM
on Mon Tue Wed Th Fri
Tuition: $585.00
Level: BEG-ADV
Status: This program is completed
Painting the figure or portrait is something many artists aspire to but often shy away from. Yet it is every bit as approachable as creating a still life or landscape. This workshop is designed to give you the tools, the confidence and the inspiration to enjoy painting people as well as show how working from photographs can be an effective and powerful approach to creating exciting figurative paintings in watercolor. Ted will discuss the benefits of photographic reference as well as how to edit, interpret and compose from a photo in order to give life and energy to the subject. His lectures, daily demonstrations and one on one instruction will help you find new enthusiasm for your work.
Instructor -- Ted Nuttall
Ted Nuttall is the quintessential people watcher; a self-described, fascinated spectator of human behavior. “I naturally seek the unique character in everyone I encounter and I don’t suppose I really think of my paintings of people as “portraiture”. Rather, I tend to think of my work as landscapes of expression and emotion – the capturing of just a moment of feeling or attitude in my subject that speaks to me”. For Ted, painting is problem solving; a process more about how the painter thinks and feels than how he or she puts the paint down. Most importantly, people are what he loves to paint.
- Following is a list of suggested supplies for the watercolor workshops and classes.
- Paper: I would recommend Arches 300# hot press paper. Although it is a little pricey I find it very functional and problem free in terms of resistance to buckling etc.
- Paint: My palette includes the following: alizarin crimson, cadmium red light, cadmium orange, cadmium yellow, yellow ochre, raw sienna, raw umber, burnt sienna, burnt umber, cerulean blue, cobalt blue, ultramarine blue, mineral violet, and hookers green. Please use tubes instead of dry cakes and avoid the student grade paints. I use Winsor Newton for all my colors with the exception of cadmium red light and mineral violet which are Holbein paints.
- Palette: I prefer a folding enameled metal palette with approximately 18 divided pans for holding color, 3 mixing wells, a large mixing tray and a thumb hole. There are many variations of metal as well as plastic palettes to choose from.
- Watercolor Board: I use a very light-weight wood drawing board that I have been able to find in most art supply stores; great for it's portability as well as durability. It is often available in 3 sizes. The largest (about 22" x 32') would be the most functional, especially if you ever want to paint full sheets). However, any supporting board or surface is sufficient.
- Clips: Spring clips or push pins for fastening paper to board. I use 3/4" pushpins to hold my paper and they work quite well.
- Brushes: I use a single #16 round Kolinsky sable brush that holds water well for large washes yet has a nice point for painting details and small shapes. Ideally, I would like you to try rounds for your brushes to experience my method of painting. Many of you may already have nice sable brushes but if you are just beginning or are on a limited budget I would recommend the Robert Simmons white sable rounds. #26 or the next smallest would be a good size. These are nice functional and durable brushes for what we will do.
- Good brushes can be quite expensive but are a good investment if you want to continue to paint.
- Towels: A good absorbent cloth towel or roll of paper towels will work well.
- Note: Although I will spend some time discussing drawing and the value and essentials of a good drawing in the workshop our focus will be on painting. In order to maximize painting time please have a completed drawing ready for class.
- If you have questions, contact Ted: (602) 253-1605 or ted@tednuttall.com
- About Your Reference and Drawing
- Please Note:
- Although I will spend time in the workshop discussing drawing and the value and essentials of a good drawing, our focus will be on painting. In order to maximize painting time, please select reference photographs and have completed contour drawings ready for class. Bring both reference and drawing to class. Also, please read the following information carefully as it will aid you in your preparation for the class.
- About your reference photograph:
- If you are fairly new to figure painting, there are several things I suggest concerning your reference selection.
- 1. I recommend that you not paint someone you know for your first paintings. The added pressure of trying to get a likeness of someone you know can be confining and frustrating.
- 2. Do not use a photograph taken with a flash as reference. Loss of critical half-tone values and distorted light created by the flash make this an inadequate source from which to draw and paint.
- 3. Try to enlarge your photo reference so that it is close to the size of your painting. This will aid you in capturing the details you would like for your painting.
- 4. Avoid the use of magazine advertising or copyrighted photographs for your reference.
- 5. I suggest you convert your color reference image to black and white for reasons that will become clear throughout the course of the workshop.
- About your contour drawing: I recommend that you start with a quarter sheet size (11" x 15") or, at the largest, half sheet size (15" x 22") depending on your comfort level. A full sheet can be a challenge your first time out.
- Do a contour drawing with enough detail to indicate all of the information you will need to do the painting. Take your time.
- Don't get too involved with complicated or busy backgrounds. Focus primarily on the figure. Whether you do a full figure, partial figure or portrait - make the figure the dominant element in the painting.
- Finally, be sure and invest sufficient time for your drawing. A good drawing will be a vital contribution to your making a good painting, as well as allowing you the freedom to paint more loosely.