Some recent sketchbook entries.... some of these are master studies for warm ups. Pen & ink work as well.


On another note I wanted to give folks interested a heads up for a Fall workshop:

Greetings Art Enthusiasts!
I wanted to let you all know about a special fall workshop I'm teaching at the Mendocino Art Center.
Their website: http://www.mendocinoartcenter.org/PSS_Cart.54.LassoApp?category=189&feature2=Fall
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September 12 - 13, 2009
INTERMEDIATE - ADVANCED GOUACHE AND WATERCOLOR PAINTING WORKSHOP
Erik Tiemens

Class begins Saturday, September 12th. Two day weekend workshop meets Saturday and Sunday, 9:30 am to 4:30 pm. Tuition: $180 (members may take a $25 discount on one workshop per year).

From the smallest thumbnail sketch to more finished works in the field, discover the importance of planning and seeing more options in your compositions, color palettes and tonal combinations before committing time on larger studio paintings. The workshop will go over techniques to previsualize your final idea and truly see the many options a location can inspire in a final painting. By combining the best of gouaches opaque-change friendly qualities with watercolors transparent subtlety, you can work more efficiently in capturing lighting, atmosphere and tonal information.

Material List Here: www.virtualgouacheland.blogspot.com

It's going to be inspiring to paint in Mendocino- I hope some of you can come!
Best, Erik

Today a stiff wind danced across a nearby coastal valley with rolling fog dissolving edges of this tree study. Sepia & burnt sienna watercolor washes with pen & ink on hot press Sennelier calligraphy paper - a nice lush vellum like surface.

Recent figure study in watercolor and gouache, with small additions of pen. 4"x6" hot press block.

This is inspired by Thomas Gainsborough's sketches that show his interest in Poussin, Hobbema, Ruisdael, Wijnants and others. Gainsborough primarily used Dutch principles of design (with a touch of Fragonard), to create a unique vision all his own. I find it wonderful that he would compulsively find bits of coal, lichen and even broccoli plants for trees and then add mud/dirt to create invented landscapes as a model to work from. This he would set up on a small wooden table in his studio under candle light.

-Erik

Developing compositions loosely with watercolor, gouache - Zinc white, with small additions of pastel and pen and ink on some of the drawings/paintings. Very rapid studies in the 4" - 6" range. Most of the work on Fabriano Ingres paper with a laid style of paper, along with Arches hot press 90lb paper.

Recent finished commissioned landscape painting. 45x60 inches - oils on linen support. I apologize for some of the glare in the photo.

Sketch book detail of a grove study. Experiments with higgins sepia ink with fountain black ink as well. Dip pen with tinted washes on Ingres paper (Fabriano Classic Artist's Journal). I was taking a look at some of Ruben's pen and ink and wash studies, sometimes with chalk, beyond mind blowing!

Limited palette Frisian landscape with gray gouache (Daler Rowney brand), in addition Rembrandt pastels mostly in the clouds and transparent sepia, umber watercolors for the foreground.... gray primed panel as the foundation.

Today I saw some work by Salomon van Ruysdael (1602-1670, Haarlem) and was struck how thin and translucent the large water themed landscape was painted. He was the uncle of Jacob van Ruisdael considered one of the greatest landscape painters and a huge influence on Turner.

Small experimental riverbank study from imagination (4"x4") in gouache & watercolor. Chinese white was used from a watercolor line, rather than gouache. This was painted on a clay based primed panel that has an absorbent watercolor paper quality to the surface. Gum arabic used in the darker passages to increase depth.

Landscape study near the coastal farming town of Pescadero, California. Rough sketch to start with, pencil layout, washes and general steps to the finished painting. The sun went down fast and I darkened the foreground towards the end. Gouache & mostly watercolors.

I am thrilled to share with you some more watercolor and gouache painting tips with my first DVD release coming out Dec.22, 2008! It's been a real pleasure working with the folks over at The Gnomon Workshop in Los Angeles, Ca. I am planning more in the series, including on site sketching, mood sketches, time of day studies and how to approach master studies down the road.

Watercolor & Gouache DVD

Mixed media/digital color sketches for a landscape painting commission. The finished size will be 45x60 inches in oils.
(Mono chromatic gouache underpainting scanned in with Painter X work over that.)

Suggested Materials list for Workshop:

Watercolors:

M.Graham makes a nice line, but W&N are fine too.

Burnt Sienna

Burnt Umber

Ivory Black

Yellow Ochre

Ultramarine Blue

Anthraquinone Blue

Hansa Yellow

Quinacridone Red

Sap Green Permanent/ or Virdian


Gouaches: M.Graham

Titanium White

Ivory Black


Gouache Extras: Not needed, but nice to experiment with.

Daler Rowney Brand

Delft Blue, Neutral Gray 1, 2, 3. Warm Gray 1,2,3. Van Dyke Brown Hue


Watercolor Brushes:

Blick Master Kolinsky Sable Brushes work great!

Sizes 1,4, 6 Plus any kind of Synthetic blend Flat brush, 3/4 inch wide. (Robert Simmons Short Handle Sapphire Brushes work fine for flats.

Paper Blocks:

Fabriano Artistico Watercolor Block Hot Press 5"x7", 9"x12", Cold Press same size to see texture differences.

Drawing Tools,

Penicls - 2b, kneaded eraser, vine charcoal, pitt artist pens, fine tip and brush tip.

SketchBook (smooth paper) of your choice, not too small.


Water jar, paper towels.

Upcoming Fall 2008 Painting Workshop!

Gouache and Watercolor Painting in Mendocino, CA

Workshop info & Location:
Fall/Fine Art Section

Please join me for a fun weekend, exploring two of my favorite mediums.
________________________________________________________
October 4 - 5, 2008
GOUACHE AND WATERCOLOR PAINTING
Erik Tiemens
Class begins Saturday, October 4th. Two day workshop meets Saturday and Sunday, 9:30 am to 4:30 pm. Tuition: $175 (members may take a $25 discount on one workshop per year). NOTE: THIS CLASS IS FOR INTERMEDIATE TO ADVANCED STUDENTS.

From the smallest thumbnail sketch to more finished works in the field, discover the importance of planning and seeing more options in your compositions, color palettes and tonal combinations before committing time on larger studio paintings. The workshop will go over techniques to previsualize your final idea and truly see the many options a location can inspire in a final painting. By combining the best of gouache’s opaque-change friendly qualities with watercolor’s transparent subtlety you can work more efficiently in capturing lighting, atmosphere and tonal information. Intermediate to Advanced. Tuition: $175.

Recent sketches from my trip on the East Coast. Fantastic clouds there! I also got to see the Turner show and a nice collection of Dutch landscape paintings from the 17th century at the Met in NYC. In addition a real highlight was getting together with Jim Gurney and his wife Jeanette for some outdoor plein air painting.. lots of fun. My friend Bill Mather joined me too.

"The Unknown Path" 16x20"

Recent oil painting on panel that was created for the Totoro Forest Project. There will be an auction and a book of the artwork with 200 artists sharing their creations this September with selected pieces being shown at the Cartoon Art Museum in San Francisco, Ca. All proceeds will go to help save the Sayama forest near Tokyo which is threatened by development.

More info here:

I just wanted to mention I will be giving a workshop this weekend
(June 15, 2008) in Hollywood, California with the Gnomon School of Visual Effects.
Many talented folks who I have worked with and are friends with
will be presenting too. Should be fun. I hope to see you there if you are in the area.

http://www.thegnomonworkshop.com/events.html


I am doing a workshop this October in Northern California (Mendocino) also.
This will have more of a focus for fine artists and concept artist who
want to improve their sketching skills and how to work with gouache and watercolor
in the planning stages for more finished work.

http://www.mendocinoartcenter.org/PSS_Cart.36.LassoApp?category=189&feature2=Fall

Watercolor & Gouache still life. Quick study of textures and edges.

Part 3 Gouache Demo (last section)

Part 2 of the 3 part Gouache Demo. Thanks for all the positive feedback!

1 of 3 (5 minutes each) quicktime videos. This is a my first demo, done spur of the moment and fairly sloppy but gets the idea across. The main theme of the lesson here is starting loose, letting shapes evolve into forms that are influenced by moody light.



Enjoy!

This has been saved as a Gouache Demo painting - 16 mins long. I will break this into several parts so it can be uploaded. As it stands it is 254 mb. 3 parts should work.
Coming Soon!

'Storm Castle' 5x7 gouache

Gouache figure studies on dark blue paper. 20 minute poses.

Study of young oaks with spring running down a trail.

After our recent rains and severe winds in Northern California the hills are saturated with moisture and will provide for a robust springtime. I opted for a monochromatic study in browns and grays on Fabriano/ Artistico traditional white cotton paper. 12" x 18" is roughly the size of this gouache/watercolor. I had to work fast for the almost impossible capture of detail and shifting light. I was interested in the sweeping S curve and the small cliffs catching light in the background. Working in black and white reminds of the old newspaper illustrations from the turn of the century (1900). I was also thinking about Ruisdael again with his large tree drawings approached with grays washes.

An escape to an imaginary forest was in order on this rainy day.This is a small format (5x7 inch) watercolor/gouache study for a possible larger oil painting. Turner, Fragonard and the Dutch School are kept in mind.

I clipped a rough watercolor block to my steering wheel and sketched this scene of the San Francisco bay. It was kind of upsetting to see 30 or so haz-mat workers cleaning the rocky shoreline with oil soaked rags in the nearby harbor. Our recent oil spill was a real wake up call about how fragile everything is. The conditions were windy with some sprinkles, so I worked in my mini studio aka the car.

Backyard gouache study from the dinning room during the baby's nap.

It's been a while since I have done some figure sketching. I decided to work with gouache and watercolor for these quick 20 min poses. I selected bristol 3 ply plate finish sheets as my 'ground'. This was enjoyable as some of the pigement washes can really retain an expressive quality that can otherwise be muted with cold press papers. Transparent washes of watcolor (Holbeini + M.Graham brands) were added to slightly model the forms. A structural mixture of gouache brown and regular watercolor brown was the frame work in laying out the painting, from thin to thick then back to thin washes.

This is a small 5x7 invented composition on hot press watercolor paper with a transparent watercolor wash base followed with opaque gouache on top. I was thinking about how the Dutch painters in the 17th century would invent Italian landscapes from their studios in Holland. I am exploring here a romantic landscape, perhaps in Spain or early California before the giant oaks dissapeared. When you look at Ruisdael you never see sawed off limbs from standing tress but rather pure forms with twisted, broken branches in various states of decay. All very interesting areas to get lost into. In addition, I find the lone figure or small groupings in the landscape classical and timeless.

A California Buckeye tree gestures along a dirt pathway was my subject on last Sunday's outing. I am trying out a canvas panel that you can do watercolors and gouache on. It is very tricky as the watercolor brushes seem to be wasted by the thirsty surface of the canvas but offered some nice dry brushing transitions that I enjoy when I oil paint. This area also happens to be one of the only leash free dog trails in the county, so my luck would have it, every dog came by and sniffed my palette, studied my alien set up and sauntered along their with way with master at side. It's better though than the bee sting I got a couple weeks before in a similar spot.

The additional study is an invented doodle painting. I sort of do these to relax after painting outside. Gouache on a vellum finish bristol 4 ply card. The more reduced the color palette the more you can dance around with the density of the pigment and explore the dialog between paper and brush, something sorely lacking in digital painting.

I wanted to share some recent field studies in watercolor and gouache. The large rock formation is just outside of the Golden Gate bridge area. The cliffs had so many variations of color in the light brown palette - interesting to dive into that. All of these pieces were painted in one session from life. Extreme wind by the ocean, and a lovely bee sting at the end of the oak tree study are all part of the fun when you are outside, but I would not trade it for anything.

Gouache study with a very limited palette. I was taking inspiration from 17th century Dutch Landscape painters and a bit of the Constable/ Isabey storm obession they score their paintings with. I am also combining Chinese White (Holbein), Zinc White, and Titanium Goauche (from M.Graham). The Daler-Rowney Zinc White is super stiff and not so good, but could be interesting for weak glaze mixtures. I also coated the paper with a prepared sizing from W&N. They don't make it any more though.

Watercolor / Gouache sketches - very small 2.5 x 4.5 inches and one that is 3 x 6 inches. The darker tree themed one was inspired by my trip to Yale- British Museum of Art in New Haven, CT. A small but nice collection of Turners, Constable and Bonningtons among others. A couple of the other sketches are very rapid along the shoreline in CT and Nantucket, Mass.

Recent watercolor near Pt.Reyes, California.

This is an experimental landscape from imagination using rough fabriano (Aristico) paper with watercolor and gouache. I reworked the clouds a number of times. The surface stood up to repeated washes and scumbles. An Australian landscape comes to mind. I have seen a number of excellent water media artists that come from down under via art books.

An old school bus yellow crane floating on a dark oil soaked barge. Hints of russet pink on the island in the distance.

French Broom in the foreground (yellow flowers) is pretty profuse in Northern California at springtime. Having just a small amount of time in the late afternoon I went for a small format - 5"x7" - using a Fabriano watercolor block. I was interested in capturing the dappled light on the ivy growing up the smaller trees. This was at a point in Belvedere, very quiet with just the daydream like sounds of the surf below undulating between the rocks.