I have folks periodically request techniques used on certain pieces of art work I do. I have also found that many people find the PROCESS of making art fascinating even if they are not artist's themselves. This is for the enthusiast on ether side of the spectrum. -A.S.Q.
(Note: the photos showing examples of me working may not correspond to my written instructions. I repent for this and am trying to find a solution with the formatting.)
1. Find a photo you are interested in painting, measure the photo and use the measurements to enlarge the image to the correct dimensions that correspond with your photo. You may want to keep the image the same size, I still recommend measuring the photo to make sure your paper or canvass size is the correct. This will help you in the drawing process.
2. Unless you are a master draftsmen and can sketch picture perfect it will be a huge help for you to take tracing paper and trace your subject. You can then put marks, for points of reference, with your pencil to help keep you from making subjects in the photo to large or to small. It makes the sketching simpler, if you want to be in a hurry though don't do it and get your self frustrated.....
3. After you have cut your paper (I am using handmade rag paper from Porridge Papers in Lincoln, Nebraska) to the dimensions your measurements, ether being multiplied or divided, indicate and after you have attached it to a hard backing then proceed. Make small marks to indicate points of reference on your paper. This is for your drawing and will make your drawing more accurate and easier to execute. Start your light sketch, and I mean LIGHT, with a pencil. You want to just barely be able to see you lines. Use the little points of reference you marked on the side of your paper to keep you subjects in perspective.
4. I wet my paper down with clean water and large 2 inch brush. I then added a very light wash of Raw Sienna to give the over all image a warm mid summer feeling. (The limited palette that I used for the piece, as an example, was chosen for it's rustic look. I wanted the painting to have a sense of antiquity that the photo represented. I also wanted to give the painting a feeling of mid to late summer. This palette works great for that!)
5. Flipping the painting upside-down I then add a light wash of Sepia, let that soak in for a few minutes and then add another light wash of Prussian Blue. Be careful with Prussian Blue it is a very powerfully deep pigment, so use it with care or it will take over you entire piece. I then add, in places, a thinker wash of Raw Sienna once again. I let it all run and mix, using water to mix or wash places were the color is to concentrated. After it has dried sufficiently I then turn the painting right side up once again.
.6 Always working from background to foreground I use Green Earth (or any green with a bit of blue hue to it) for the back ground hills. I add the color as a back ground color for the foreground trees and bushes as well.
7. Using Sepia I darken up the foreground tree line. I also us it to start putting shadowing into the teepees and cabin.
8. Putting Prussian Blue in a deep wash I both darken up the foreground tree line and with a wash of Sepia give it a greenish blue tone that corresponds with the evergreen colors of Montana.
9. For the mid ground, which is a possible field behind the two figures on the right, I used a light wash of Burnt Sienna. This pigment has a red tone to it. I bring it in to the for ground just slightly.
10. Now it is time for details. I add a hint of Crimson to the shirt and dress of the figures on the right. Also a bit of Prussian Blue washed in with the Crimson. This is to draw your attention to the figures being that I chose them to be the subject of the painting. I then start to add details with a very fine pointed brush and a very heavy Sepia wash. It all most looks black if layered heavily.
11. After letting it dry set it a side for a couple days and then evaluate it. If it has enough redeemable qualities, to keep it from being used as fire starter, then sine it. Remember to buy some U.V. protectant fixative and give it several coats for archival prepossess when you are finished.
Note: Remember, watercolor is a very hard medium to work in. It is like a cat, it does what it wants when ever it can get away with it. If you are doing WET ON WET, meaning putting your washes on top of wet paper or other wet pigment, it takes a lot of practice. Start with small sheets of paper and work up to bigger sheets once your confidence and skill level rises. It is also O.K. to generate fire starter; meaning that you aren't failing by not getting the desired results immediately. Most pro artist in general will admit that they throw away or cover up sixty to eight percent of their work before they get something they really like. That is a lot of fire starter:)
Material: Watercolor brushes: 2 in. flat, 1 in. flat, and a fine pointed detail brush. Paints: Raw Sienna, Sepia, Burnt Sienna, Prussian Blue, Crimson, Green Earth (blue hue).
Feel free to contact me if you have any questions.
The weeks have flown by..... I have to ask why the days seem to go into fast forward yet my work seems to go into slow motion? What is up with that? I am currently working at finishing up the album art for the new Pterodactyl Plains indie album. This will be the second piece of their work that I have covered with my art. I am also recording my own album with them under the name of "The Golden Morning", we started recording last week. So on top of all this I am starting a new side project, which I will be getting up on FB and Myspace before to long. 
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