In a completely different vein, Elaine O. eschews detail to create an impression of snow. Yes, she's still working on her "snow" series and copying old masters to get a sense of how they were able to paint snow so successfully. Here's a sketch of Childe Hassam's painting of snowy New York.
And she's also painted this version of a scene by Monet. While both of these sketches feature the same kind of snow event, Elaine O. is surprised to see how a tiny color difference makes a big difference in the perceived temperature and feel of the snowy day.
Ken is also working on a series (A Day in the Life of Ken), but his day is darker and more colorful and reflective than Elaine's. He's finished his tree from the Ten Cat Beer Garden, using complementary colors to great success.
Then, Ken began this view of part of the LaSalle St. Bridge. There's more to come—it's a dark, rainy night—so come back for more lights and reflections and a sky to rival Van Gogh.
Sara was under the weather today, but she is certainly not a slacker! Like all of us, she loves a good series. She's working on portraits from photos, starting with small pencil sketches, then moving to small watercolor sketches, and from there, to larger freehand watercolors.
While they look different from photo to sketch to watercolor, Sara feels it's a great learning process—especially for someone like Sara, who is a skilled sketcher and eager to try direct watercolor without sketching first.
Today's series is only partly finished, but we love the progress she's made.
Our newbies are painting (and drawing) up a storm, too. We begin with Emilia. She's completed her advanced color wheel with hues, tints, shades and tones.
From there, Emilia used fun little icons to test complementary color theory and do some color matching.
From there, she began an exercise where she takes a magazine picture and extends the picture in watercolor. The goal is to match color, but Emilia has done more than that. She's captured the feel of the palm tree and achieved some fine brushmarks and edges.
We also got a look at Emilia's sketchbook. Like Sara, she's an avid sketcher. She uses old style ink pens to get the crisp line and detail you can see here...
...not to mention the detail on these larger cityscapes...
... and the textured fur and feathers on these animal sketches. The last cupcake seems a bit smaller than the others because Emilia ate it! :-)
Hedda did her color plaid a little differently, using water for the cross bars. In the process, she's really been able to see what each color can do and managed to get some lovely color blends and blooms.
Here's Hedda's original color wheel. She's only using three colors to get this entire range of vibrant, happy colors.
And then, she begins her advanced color wheel. We love the way she's gotten such a smooth spectrum and look forward to seeing the tints, tones and shades.
Maddie's plaid is bright, structured and clearly gridded. Look at the intersections to see some lovely color interactions.
Here's Maddie's first color wheel (the one using only three colors). It's so soft and watercolor-y!
From there, Maddie finished her advanced color wheel, with tints, tones and shades. We are always amazed by some of the colors we can get.
Finally, Maddie experiments with complementary colors (getting some exquisitely soft and Monet-like colors) and with color matching. It's wonderful to see how each of us can do the same exercise and get such individual results.
We missed some of our artists today and look forward to see them again soon—healthy and warm and safe! Dana's especially eager to compare Steve's painting of last week with an image she found on the internet. It looked a lot like his painting, except this was an actual loaf of bread, with cellophane wrap and all.
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