Carlin Kielcheski, a Force for the Arts

I want to honor a friend who has been a true supportor of the arts. Recently, I received an invitation to attend a show of artwork by Lt. Col. Carlin Kielcheski (ret.) at the United States Air Force Academy. I've known Carlin for many years and have admired him as an artist who paints strong, well-designed watercolors. However, it's his devotion to integrating the arts into a military education that makes him outstanding. While many believed that there was no room in the service academies for art classes, Kielcheski debated this issue with senators and generals, keeping the program alive. He has been a positive influence among many academy graduates including a Medal of Honor recipient, an all-American football player, some very accomplished artists and many who have a great love and regard for the arts because of him. I salute Carlin for his achievements and service.
For those of you who have access to the USAFA, his show is at the Permanent Professors Art Gallery on the 3rd floor of the Fairchild Building and runs from November 1st to December 8th, 2009.

Glazing with Brights

A short video that highlights the process of glazing using bright watercolors. I glaze over a muddy area on a student's watercolor to bring it to life.

Fall Newsletter Now Online

Since the last post was about painting rich darks, I've devoted the Fall Newsletter to the importance of value studies and six basic plots that have worked for me. Read more at:

http://home.earthlink.net/~towen02/Newsletter5.pdf

Snow's coming!

Creating Rich Darks

In transparent watercolor, being able to paint rich, luminous darks can be very rewarding and very frustrating. The frustration almost always happens when artists fail to create a fluid, saturated mixture. They select a color that's dark by nature, like Prussian Blue, water it down and layer it over mid-tones. Because it lacks intensity it fades to a dirty gray.
The trick is to make a large puddle of pigment (any dark color will do) on your palette and keep adding pigment until the puddle becomes very dark and intense, but still remains fluid. If I would compare this puddle to something that we all know, it should have the consistency somewhere between whole milk and cream: maybe half & half?
Float this color with a soft brush over the desired area. Avoid scrubbing or working it into the underlying colors. This makes mud. You can create color variation by dropping some equally dark colors into the area while it's wet (sometimes called "charging").
It works for me. Remember: fluid darks, soft brush and float the colors.
Let me know if you have any other ideas that you'd like to share. I'd be glad to hear from you.

Good News

" Socked In" the watercolor from my last post received the 1st place award in the Rocky Mountain National Water media Exhibition hosted by the Foothills Art Center in Golden Colorado. I thank all who posted positive comments,as they reinforce what we are all seeking,personal growth in our art.
Regarding ,questions on the atomiser. I use a cheap one I bought for $3.95,but alignment is the secret. The tubes must meet at 90% and touch or it will not work. Also you must blow with a strong and steady breath. The color,coastal fog, is an American Journey Product. I use a variety of brands and keep trying new colors. Some are added to my palette others I reject. However,shame on the government taking away the manganese blue that granulated so well! What did they think,we were using it like ketchup
Tom

Seeking Atmosphere in art

As a teenager, I can remember sitting in English class on rainy days looking off towards the dark spruce woods on South Mountain and watching the mist drift over the land obscuring some trees and revealing parts of others, to suddenly be awoken from my daydreaming by my teacher, "Owen! Your attention on the blackboard!". Fog, mist and rain have always fascinated me and even then I thought it would be great to be an artist and be able to portray these effects.

Watercolor possesses the ability to create atmosphere unlike other medias. We can start with an wet-in-wet approach and concentrate on soft edges putting in transparent silhouettes of objects and gradually adding color and darker tones as we advance to the foreground.

Another approach is to layer transparent washes of gouache over the entire painting laying down a veil of fog. The painting above, "Socked In", was done in this way with two opaque colors, Chinese White and Coastal Fog. Using an atomizer, I sprayed this mixture over the entire paper, allowed it to dry and then came back and selectively added accents and brighter colors.

Structuring the Whites

Thomas Owen talks about the value of starting watercolors with an underpainting, a practice that he refers to as "structuring the whites".