Joseph Zbukvic, together with Alvaro and Herman Pekel are considered as some of the best watercolorist out there.
Here are some notes that I have taken from Zbukvic's DVD Tutorials.
Notes from Joseph Zubkvic DVD
Among the 3, Zbukvc paints in a more systematic way. He wait for the wash to dry before loading on new and thicker layer. ( Think tea, milk honey)
When painting background, pretend it is not there. Recognize its shape and not be bugged down by the details
Place emphasis on composition than subject matter.
Never worry about the end result until the fat lady see it. ( Let the paint do its thing)
Concern yourself only with the color temperature. Tone is key and strength of color is more of a concern than actual chroma
Do not dabble around with strokes. Have bold and confident brush strokes.
leave white for opportunity. Accidental whites are great. You never get them back if you cover them all.
Important to observe the beads of your wash. Once its gone, its game over. Connect shapes appropriately and early on.
Dramatize shadows and form.
On-site studies provide the best reference for bigger studio work.
important to not be bug down by details. Allow background shapes to remain just as shapes.
careful observation of the Mr bead is important for one to continue throughout the paintings
The effect of edges can be decided by Artist.
Subject may move but you can lock their gestures. Charging the trees and their shadow with thicker paint to anchor their compositional element in the painting.
Last September (2014). After a successful kick-starter project ( The Perfect Sketchbook ) I enjoyed the good fortune of visiting Bhutan again. This was my third visit and I was sponsored by the good people of Drukasia Travel Agency.
I handmade a few hundred buttons with my paintings and gave them all out. No, I didn't put my name on any.
During my 3+ weeks in Bhutan, I managed to coach Art to Shaba Primary school in Paro, Thimphu Primary and also at V.A.S.T Bhutan.
It was an interesting chapter and it will most likely be my final visit to Bhutan.
Here are some of the things I have managed to do when I was there.
Sent my top backers a small souvenir, all the way from Bhutan for their generous contributions :)
I took the opportunity to send a small souvenir to all my top backers for my kickstarter project.
I was given the opportunity to coach Art to a bunch of students at Shaba Primary School. With good fortunate, I managed to score some Art supplies for them. (Special thanks to Dr Mabel, Stephanie, Drukasia and Grandluxe). Contrary to to home, it was great to see so many interested and excited students.
Kids from Shaba Primary school were so excited to have an Art teacher. They helped carried the supplies from my sponsors
Free sketchbooks and a short lesson on shape recognition
The principle of Shaba Primary selected interested students for me. I didn't want to force anyone into learning Art. Something, I have to deal with in Singapore.
I didn't want to preach them to become Artist. Instead, I merely wanted to share the joy of Art and sketching.
I taught Shaba students a little on geography, shape recognition, medium and tools application. When questioned by a young student if there was future to becoming an Artist? I told her that one does not need to be an 'Artist' to enjoy Art. I reminded her that I wasn't there to preach an Art career. Instead, I was merely teaching them skills that can resolves visual problems. Some friends have also misunderstood my intent and questioned my contributions. I never assume that my Art can save their lives or lift them out of poverty. I am not a doctor, politician or businessman. I am an Artist and I just wanted people to be happy :)
Shaba Primary student giving me a farewell thank you for the classes :)
I was also invited by the owner of Thimphu Primary school to conduct some classes there. Unlike the rural students, these city kids were less shy and really active.
Thimphu Primary school and my classes. Very well equipped when compared to Shaba Primary
Students comparing the work done.
I also doubled my effort between Thimphu Primary and Vast Bhutan. Over at VAST. I taught the fundamental of sketching and watercolor. Urbansketching was introduced to them and I organized their first urbansketch outing. Recently, the Bhutanese submitted their application for an official urbansketch chapter. I also shared with them the inspiration and making of ' The Perfect Sketchbook'. When The Perfect Sketchbook was produced, I sent them a box. I was so inspired by Bhutan's philosophy and way of life, when I first visited the country. This is why the Perfect Sketchbooks carried paintings inspired through Bhutan.
Teaching the older students at VAST Bhutan.
Kickstarted their first outing. Imparted them with some watercolor skills at the same time
Throughout my trip, I was accompanied by Tashi Payden who runs an animal shelter, RSPCA. I paid a visit to her shelter and got to know that she took care of all the stray dogs in Bhutan. Basically, she started a movement that aims to vaccinate and sterilize all the stray dogs (an on-going effort). The shelter also took care of abandoned bears, deers and basically any wild lives that couldn't fend for themselves. I was touched by her effort and pitched the idea of featuring Bhutan's animals in this year's Drukasia/Drukair Calendar. Though I tried to raise money for RSPCA by selling my paintings and asking people to donate for her cause, the results were not ideal. I am also trying to piece together a red panda plush that can become a souvenir in Bhutan. A chunk of the proceeds can then go directly to RSPCA. The plush was designed and prototyped by friend Audrey. Cost, production and distribution of this is a challenge and I am still working on this. Any help or contacts is appreciated
Tashi Payden, mother of all Bhutan Stray dogs.
I visited the Animal Shelter and fed many these handicapped but happy dogs.
I got really close to a Himalayan baby bear :)
Plush prototype developed by Audrey. I am working on getting this into the market with proceeds for RSPCA Bhutan. All help welcomed.
Pro-Bono work I did to raise money for RSPCA. Unfortunatly, I didn't raise much.
I also got to sketch a little bit whenever I had time during the trip
Sketching Bhutan with the Prototype of The Perfect Sketchbook
Shared the joy of a 'perfect sketchbook' with passer-by on the street :)
My biggest fan in Bhutan :) Photo courtesy of Zimbri
Tashi Payden set me up with the Je Khenpo of Bhutan ( The Chief Abbot of the Central Monastic Body of Bhutan) and I got to show him my sketches and received his blessing.
Blessing from the Je Khenpo of Bhutan
They call Bhutan's stray dogs, Solar dogs because they sleep in the day and roam at night. Many are annoyed by them but I found them inspiring. In Bhutan, all beings are respected and these stray dogs were given more space than they can ever get in
other part of this world.
Jeremy Lipking is another top Alla Prima painter out there who has put out a DVD on how he paints.
I have seen some his paintings in New York and they are absolutely beautiful. They are very delicate and in many ways his painting approach is quite similar to Richard Schmid's In the DVD he spoke about his influences at CalArts.
Notes taken from his DVD 1) Color palette :
Mixture: Ultramarine Blue, Titanium White, Alizarin Crimson (med value, cool blue for cooling colors)
Titanium White
Cadmium Lemon
Cadmium Yellow
Cadmium Orange
Cadmium Red
Alizarin Crimson Permanent
Burnt Sienna
Ultramarine Blue
Cobalt
Golden Green
Viridian
Ivory Black
his own mixture of blue allow cooling a color without changing its value too much.
2) Brushes : uses Langnickel and a few bristle. 3) Medium = 5 Part Turpentine, 1 part Stand oil. 1 part Damar. Varnish.)
3) Uses lead prime canvas so that paint can be easily applied.
3) Unlike most approach of blocking in the darks. Lipkin locks in the overall shape and prioritize planar relationship by shifting subtle color temperature .
observing the planar relationship of the figure.
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Taking Note of temperature shift all along. Drawing the shadow shapes after.
Richard Schmid is one of my all-time favorite painter. I watched all 4 DVDs he made on Landscape painting.
He is extremely good and shared an incredible wealth of information on Alla Prima.
By the way, he wrote 'Alla Prima' and this is by far the best painting book I ever read.
If there's one book I have to recommend ? This is it.
It far exceeded everything I ever known about painting.
Notes on Alla Prima painting:
Richard prepares his own canvas and is demanding/meticulous in all his tools. He only uses lead primed canvas.
Took extreme care with his brushes and has a thorough understanding on his medium and pigment. He uses Langnickels and bristle.
Uses the base wash as an opportunity for entire painting.
Uses a white mixed from Titanium and Zinc White. Titanium for its body and zine for its brushability
Medium = Mixture of 5 Parts Turpentines, 1 Part Stand oil and 1 part Darmish Varnish
Mother nature is a wildcard and it will throw anything at you. You must stay committed to painting, no matter what when you are outdoor.
Paint the fast changing thing first
Structure and prioritize your edges, values, color and focus. How do you decide on edges ?
how appropriate the edge to the thing you are
painting.
hard edge is a device for the focal point . Like a shout
or scream.
Painting = Capture what is there.
He does not use a color system. Rather, he believes that light harmonizes everything and staying true to what you see is all that matters.
There are only two errors in painting
Not painting something that’s there that need to be there
Painting something that isn’t there
How to mix the right color ? Plot out every single colors your can mix with your palette and have the chart with you if you need to.
Color Temperature is far more important than the right colors
Uses every technique to get the edges, value and effect. This can be scrapping off, wiping out, using fingers.
Richard is extremely good with the structure of his washes.
He explains how 1) one can structure the base wash with the soil color. 2) Mix the colors that made up the ground likes the leaves, the rocks. 3) Insert the colors back and form the entire picture.
Laying down the wash wiping out the excess so that it evaporates faster.
He uses a cane in place of a Maulstick. Maulstick make no sense against a wet surface
His pigment and arrangement
Tip on preserving his brushes. He clip his bristle with a cardboard to preserve its shape. Another alternative is to use aluminum foil. He explained that it is extremely important to have the brush do exactly what you want it to do
He doesn't fill every spot of the painting. Instead, he took opportunity with the ground and prepare thin washes that will facilitate with the final illusion to a complete painting. Painting is an illusion, he reminded
painting is simply a matter of getting the right colors in the right place. If you know all the color mixture to your palette, You can resolve the rest of the issue.
Showing the tricks to how various masters handle soft edges. 1) with modulation like the impressionist 2) by swiping with clean brush to spread the mix (Sargent method) 3) by dabbling and twisting with a clean brush.
The palette knife is key to great sharp edges.
An exceptional painter
In one of the DVD, Richard explains that the Digital display is perhaps the next best thing for reference. Printed photos collapse and clipped most of the chroma and values.
This is probably the best DVD tutorial that I have watched.
Why do I say that?
Unlike others, Kassan took extra effort to film the action of his palette, the painting he is working on and also his model. He also narrated all his thoughts and shared all his thought processes. Tools were thoroughly explained as well.
I love the direction he has taken with his work and the approaches he taken to market himself.
This is defiantly one Artist to learn from.
Key notes from this DVD.
1)
He uses Pan Pastel soft tools to block shapes for his drawing.
2) He transfer the completed drawing to a panel grey panel he prepared for painting. He did this by coating the back of his print with red iron oxide shade.. According to him, this blends into the oil better than black he used in the past. (grey is a neutral for chroma judgment)
3) Since he has already done a thorough drawing, Kassan doesn't do a block-in on his painting. Instead, he focuses on planar relationship and color temperature with the value structure resolved from his drawing.
4) His color palette consisted of tinted chroma (e.g tinted blue, pink and tinted yellow) and this expedited the process of mixing and neutralization. (without upsetting the value)
5) He tries to paint symmetrically on portraits and expands outwards.(e.g left eye and right eye )
6) He uses various medium for impasto textures and build up.
7) Grey panel prepared by grey acrylic ground on Arches oil paper.
His approach to drawing with the Pan Pastel Knife.
Kassan does a thoroughly drawing before transferring this to a panel that he will paint
Coating the back of his print in preparation for transfer
The transferred drawing on panel and his approach. He tackles the painting mostly with a tiny sable
Locking in the planar and color temperature. He tries to work on these symmetrically
His approach on wrinkles. He uses a binoculars to zoom in to capture broken colors on actual model. He also uses different medium to build up the textures of his subject.
There was a section to this DVD that featured Varsari pigment. This was actually a really valuable segment on colors and pigment... lesser of promoting the pigment brand.
You can see how he paints in this youtube video below.
