modern-paintings.blog.hubickart.com

Click here to view Modern Paintings by Murray Hubick

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Medium is nothing more than a vehicle. It must always be fun and I’m not saying don’t experiment, rather experiment with developing your skills first. Again, it’s old fashioned and probably cliché but you really need to walk before you can run. I know it doesn’t sound like it but there can be a huge amount of fun in that.

It’s an old fashioned concept I know but the first medium or tool that is essential to master in creating art is your hand. Once you have learned to control your hand and your hand eye coordination you will have the freedom to do just about anything you want and will then naturally gravitate to the medium(s) that serve you the best.

I will go into this more fully in subsequent posts but the real value in producing a work of art is in the proccess of creating the work itself. The artwork, no matter how successful, is a byproduct of that proccess.

P.S. Don’t pay too much attention to style. That will also develop naturally and is a product of self. By that I mean that style is more an indication of who you are and how you feel about what you are creating. You may find your style developing into the style of an artist whose work you relate to and this is not necessarily a problem.

Originality can be overrated. Picasso’s first words after viewing the ancient and primitive cave paintings in the south of France were that nothing is new under the sun. Complete originality in our world is impossibility. At least in art anyway. The best you can hope for is a melding of that which has gone before us.

There are many that will say; hold on, that’s not right! To that I can only say Sorry, it is but because so much has gone on before us the combinations and possibilities are endless and that’s a very good thing.

Quite aside from the effect that the work of another artist has on you is that we all live in society we are all profoundly affected by our surroundings. No matter how you see your work, it is in fact governed to a large degree by what you see, feel and hear in everyday life and much of that on a very unconscious level.

The long and the short of it is don’t worry about “style”. Be true to yourself and get on with having a good time and style will take care of itself naturally.

Murray Hubick

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Click here to view Modern Paintings by Murray Hubick

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My attitude toward materials may be summed up by paraphrasing the old adage that just as you can’t be a good carpenter without good tools, so you can’t be a good watercolorist without good materials.

Even the beginner, who must spoil and throw away a lot of paper, should not start off with too cheap a grade of paper. Adequate machine-made rag-content papers are available for practice. However, as soon as possible, the beginner should switch to a good handmade paper. Such paper not only takes paint better but shows up whiter at those times when the paper becomes an integral part of the design, such as when painting snow scenes.

It also pays to be consistent in the grade of paper you choose. This makes it possible to evaluate your work as you progress. After you’ve learned to achieve a certain effect on one grade of paper and find that it doesn’t work on another grade, you’ll understand the importance of this point. By using the same grade, you can, under ideal conditions, achieve the same effect rather consistently.

In the beginning you may want to use a lightweight unmounted paper, say 72 pounds. However, you will soon discover that it will tend to buckle when heavy washes are applied. The resulting wrinkles can be most disconcerting when you are trying to paint reasonably straight objects such as telephone poles, fence posts, and piles. I have found the 300-pound weight to be nearly wrinkle-proof.

In choosing paper you must also consider its texture. Surfaces from very smooth to rough are available. Selection is usually based on the technique employed by the artist. I use the rough paper almost exclusively because I find it of great help in softening edges, creating textures, etc. I prefer the 300-pound d’Arches rough or the 300-pound AWS rough. The d’Arches has a slightly yellowish tint, whereas the AWS is pure white. Both are handmade and of the same high quality.

Sandpaper it used chiefly for scratching off paint in areas where more white is needed.

Masking tape is used to cover those areas of a painting that you wish either to leave as white paper or to paint later on. Maskoid serves the same purpose for small areas.

Butter knives are very useful as tools and, because of their blunt edges, are particularly handy for scraping off paint softly for textural effects.

Although there are many colors of fine quality available, I find that for my work Rembrandt colors are the most satisfactory I use the following watercolor brushes: 2-1/2 inch second grade camel hair and 1-inch Grumbacher aquarelle which are flat; 1-inch, 1/2-inch and 1/4-inch short-hair flat bristle brushes, made for oil painting; numbers 12, 8, 5, and 2 red sable Winsor & Newton or Grumbacher round watercolor brushes.

Additional equipment needed by the watercolorist are a soft cosmetic sponge (fine-textured and natural - not rubber) ; a water container; paint rags; hand mirror ; a low sketching stool; kneaded and sand erasers; HB, 2B, and 6B pencils; drawing board; tube of rubber cement; paint-box and mat knife.

A 5-inch by 7-inch sketch pad is another useful adjunct to the sketching trip for thumbnail sketches preliminary to working on the main picture or for pictures to be finished back in the studio. This also serves as a record of the amount of work you have done during the year.

Now it only remains to begin painting!

Discover The Secret To Becoming A Well-Known Water Coloring Artist

http://www.watercoloring.org/

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Art Marketing Course For Artists & Craftspeople At All Levels. This Is A 13 1/2 Hour Multimedia Downloadable Course.

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Paint Or Draw Any Subject With Ease. Learn Unique Principles From A True Art Master!

………………………………………………………………………………………………………………………………………………………….

Use Mixed Media, Papercrafts, Textiles, Polymer Clay, Jewelry Making And More As A Transformative Tool For Self-development And Creative Expression. Written By Arts Industry Experts. Available By Individual Issue And By Annual Subscription

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Modern Paintings by Murray Hubick

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Unlike some teachers of watercolor, I advise students to start painting as soon as a satisfactory drawing is completed. So let’s start right in with a simple explanation of value and color. Value, according to Webster, is “the relation of one part or detail in a picture to another with respect to lightness and darkness.” The primary colors of the painter’s palette are red, yellow, and blue. When these three are mixed in pairs, we get orange, green, and purple.

To learn as much as possible about color, take each color in turn and play with it. See how alizarin becomes pink when water is added and how it becomes dusty rose when you add various shades of gray. Then experiment with various mixtures. You’ll want to make copious notes as you go along with these experiments. They will be invaluable references later on, and unless the notes are on paper they may be forgotten.

Perhaps the easiest way to think of color is to divide your pigments into two general classifications - warm and cool. The intermediate, borderline group between warm and cool can be slanted either way by the addition of a warm or cool color; this group is useful for such elusive color effects as weather-beaten barns, dirt roads, etc. However, do not concern yourself with these until you have assimilated the essentials, the elementary principles of color.

To fix the warm and cool divisions in your mind, think of the hot, sultry colors of the tropics - the dazzling reds, magentas, yellows, oranges, purples - and compare them with the austere, cool, almost bleak colors of such northern regions as New England; think of the brooding grays, glacial blues, icy greens, and of the effect that these colors have even upon the personalities and temperaments of the inhabitants of those climes.

Think also of the emotional impact of color: how color determines the mood of a picture, how color can denote joyousness, gayety, and laughter, or how it can be stark, ominous, and foreboding. A wide, almost limitless range of effects can be achieved with the colors I use.

Once you have grasped the fundamentals, strike out on your own because every individual can develop his own sense of color. For example, a group of well-known painters worked simultaneously from the same model. When the paintings were finished, each artist showed a different color concept in his work, but each painting, viewed individually, was a true portrayal of the sitter. Despite the variations in each artist’s color, all of the values in the paintings were properly related.

Another matter I would like to impress on your mind is that there can be happy, almost providential, accidents of color. If you make an unintentional brush stroke or drop some color where it doesn’t belong, the effect may be well worth while keeping in the picture. Don’t be in a hurry to delete such a mistake unless it actually harms the work.

There are really no set formulas to restrict or inhibit your creative urge. So let yourself go!

Fog and Rain

In painting fog, you will note that objects very near you - because of the softness of the fog and mist - have a tendency to appear quite sharp. Remember, too, that because you are painting fog, you will have, at times, a strong, penetrating light which will give the picture intensity totally unlike that of sunlight.

To paint the fuzzy background, keep the paper wet. Keep working down, leaving un-painted only really white areas. Work from light to dark and keep the paper wet while at the same time establishing your values. The reflections should not be added until the paper is almost dry. In translating this tonal sketch into color, always remember that fog leans toward the cool side.

Above all have fun with your painting!

Discover The Secret To Becoming A Well-Known Water Coloring Artist

http://www.watercoloring.org/

…………………………………………………………………………………………………………………………………………………………..

Art Marketing Course For Artists & Craftspeople At All Levels. This Is A 13 1/2 Hour Multimedia Downloadable Course.

………………………………………………………………………………………………………………………………………………………….

Paint Or Draw Any Subject With Ease. Learn Unique Principles From A True Art Master!

………………………………………………………………………………………………………………………………………………………….

Use Mixed Media, Papercrafts, Textiles, Polymer Clay, Jewelry Making And More As A Transformative Tool For Self-development And Creative Expression. Written By Arts Industry Experts. Available By Individual Issue And By Annual Subscription

………………………………………………………………………………………………………………………………………………………….