May 2023

Part 2, Watts Oil Painting Fundamentals course

Well, I completed the second section of the Oil Fundamentals course and passed. The comments I received were very helpful and insightful. Bottom line, this time I learned that my depiction of values is decent, but I tend to go a little dark in the mid tones. Nobody has told me that before this, so this is appreciated!

My first skull painting. I don’t have much experience in painting or drawing skulls

I got some positive comments for this painting from the teachers at Watts Atelier, but there were some problems with the drawing. The angle of the jaw, apparently, is out of whack.

I’ll confess, I loved learning anatomy but never really liked the skull, and didn’t focus on it at all. Due to this, I am completely ignorant in skull anatomy. But, Watts is going to force all of us students to learn, whether we want to or not! And this is good!

My one-hour “gesture” painting in a limited palette of Burnt Umber and White.

The assignment was to quickly paint something in an hour, and don’t go any longer than that. Quite daunting! I never thought I could be capable of finishing anything so quickly.

As it turns out, I actually completed this in a tiny bit less than an hour, which surprised me more than anyone! There are problems with the drawing. (I feel like everything “leans” a little to one side.) But we are told in the demo lesson that perfection in accuracy is not expected when we only are limited to an hour to complete the painting.

The instructor who wrote the comments on this painting didn’t mention any drawing flaws; so I guess that means it was within acceptable limits.

The instructor notes said that the midtones were too dark on the neck and the side of the nose. Also, the darkest values are too opaque. (It looks better to paint the darkest values with thinner layers, with light values painted with thicker paint.) This was something I was never taught when I first learned to paint in oils. I am grateful for this new guidance and will work to integrate this into my painting.

Once again, I’m very grateful for Watts Atelier and the instruction they’ve given. On to the next part of the Oil Painting Fundamentals course—the Zorn Palette! I’m super excited to learn about this. (I have done some Zorn palette work before, and am fascinated with it!)

Puttering along with drawing, painting “gestures”

Just checking in, to prove I haven’t bailed on this whole endeavor.

I started doing the next assignment in the first Oil Painting course, but when I got to Mr Watts’ “gestures” painting tutorial, it rocked my whole world so much I just completely stopped painting for the course and did some “gestures” for my own gallery. (Which I can’t show here, else I not be anonymous anymore!)

It just never occurred to me to try this before now. Use a limited palette of Burnt Umber and white, give yourself about an hour to complete something, and see what happens!

It was GREAT! I loved it! I felt such a sense of accomplishment to get something in about an hour!

Anyway, enough of that, back to the doing the assignments for the atelier. I’ve now returned to the Oil assignment and am almost done with a skull painting (which I will post as soon as it’s done).

Quick Sketch and learning the whole charcoal/carbon pencil thing

Yeah, still getting used to the charcoal pencils, and the Reilly method! But I love it!

So I’m posting a few more examples of Quick Sketch. I feel I am getting the “gist” of it, but there’s a lot to it, so much more repetition will be required before it truly even starts to sink in.

A little bit of shading and cramming in as many images as I can on a sheet of newsprint.

I got some smooth-textured newsprint, and yes, in the 18×24″ size that was required, but I know how I am and how I work, and I knew that as I sit perched in front of my computer monitor that 18×24 is too big for everyday practicing. So I got some smaller sized pads too; Seth Cole pads of various sizes from DEW (current as of 2023). They have a lovely texture.

I feel a little more comfortable using the unique charcoal pencil technique (with the shaved, elongated point) but there’s a learning curve and I’m not “there” yet. I see the advantages of learning this technique, so I’m all in.

I’ve also been playing around with other types of smooth paper to use with these charcoal pencils.

Another little invented head, using Strathmore Layout Bond. Lovely, lovely texture.

I’ve never really warmed to charcoal up until now. It was always too “smeary” and I hated it when I first studied figure drawing. Conte Crayons (the sticks) with newsprint were okay, but they didn’t “translate” well for me with other types of paper. Now with these wonderful Conte Charcoal pencils and Wolff’s Carbon pencils, I’m changing my mind.

Layout Bond is a little too pricey for just practice, but I love love love the texture and since it’s acid free, I could theoretically sell drawings on this type of paper.

For all these years I’ve mostly stuck to graphite for drawing (using a mechanical pencil) but Watts is now “expanding my horizons” and I’m very grateful!

Well, back to work!