|Lorraine Watry Watercolor Workshop ©|
I have just finished setting up my 2014 Summer Watercolor Classes and Workshops. As you can see from the image above. I use a video camera and tv screen at my home studio classes to film and provide a view of what I am working on for my students. My classes are small, usually limited to 6 students. Thus, I can give lots of individual attention to each student. I find with watercolor that the students learn best when they can see a demonstration, so I demonstrate often.
2014 Summer Classes and Workshops:
1st Monday of the month Open Studios - 1hr from 6-7pm
Watercolor Classes for Beginners - Thursdays, 6-9pm, June 19 to August 7
Shadows As A Subject Watercolor Workshop - June 28 and 29
Background Figures Watercolor Workshop - July 18, 19, 20
Shiny Metal Watercolor Workshop - August 8, 9, 10
Water Reflections, Hard Edged and Colorful Watercolor Workshop - August 22, 23, 24
Friday, April 18, 2014
Monday, April 14, 2014
|Monet Reflections LWatry©|
Below is an image with the students and some of their waterlily paintings. We really enjoyed getting to know each other and further our knowledge of watercolor.
My new summer class listings will be out soon. The classes will include a Beginning watercolor class and several 2 and 3 day workshops for beginning to advanced students, from June to August.
If you would like to be added to my newsletter email list, so that I can notify you of future classes, please find the Newsletter Subscription on the upper right of my homepage, fill in your email and click submit.
Friday, March 14, 2014
Carrie's Creations: Friday Feature: Lorraine Watry: "Shows Over" watercolor by Lorraine Watry Hi Everyone, Today I have an amazing artist as our Friday Feature, Lorraine Watry....
Saturday, March 1, 2014
|Monet's Lilies - L.Watry ©2014|
This painting was done on Aquabord. If you haven't painted on Aquabord, it is a fun surface. The clay of the Aquabord gives the painting a matte feeling compared to watercolor paper. It is very easy to lift on Aquabord, however I sometimes still use a little masking if I want to save an area to keep totally white.
I started the painting by using transfer paper to get my drawing onto the board. You can draw directly on the board too. After I had the drawing ready, I used a little masking for the bubbles in the water and to save a few of the edges of the lily pads to paint later. I then began painting from the top or background of the water down. I painted the dark background water wet-in-wet and later went back after this area had dried and lifted a few more lines of the lights.
I used Daniel Smith quinacridone rose and a little opera to paint the pink lilies and various mixtures of cobalt, ultramarine blue, aureolin yellow, new gamboge, green-gold, and olive green to paint most of the green leaves. Parts of the undersides of some of the leaves also have some of the quiacridone rose in them.
Layering on Aquabord is more difficult than on regular watercolor paper, but it is possible. You need to keep your brush sort of floating over the surface and don't get scrubby with it or you will move the lower layers.
I will finish this painting on Aquabord by sealing it with 4 or 5 coats of Krylon's archival matte finish sealer. Then it will be ready to frame without glass.
Tuesday, February 25, 2014
|Pikes Peak Sunrise LWatry©2014|
Before I began the painting, I masked the moon in the upper right and masked the edge of the mountain so that I could paint in my sky without having to worry about painting around those areas.
The sky in this painting was done wet-in-wet. I started by painting clear water onto the sky area and then I used peaches, pink and blues to paint in the colors of the sky. I let the colors bleed together so that they would have soft edges. The blue is ceruelian blue and the peaches were made from permanent rose and aureolin yellow.
Because this is a sunrise scene, the land needed to reflect some of the same colors that are in the sky. So, the white snow area received a wash of some of the peachy pinks that are in the sky. Then I used some purple to add the shadows. The lower part of Pikes Peak was painted with muted or grayed down colors and I let the color fade at the bottom to give it a misty effect.
There are many techniques and ways to portray skies. Experiment and have fun, don't over work them. Some of the best skies are done with minimal brushstrokes and the color and water is left to mingle and create exciting passages.
Friday, December 6, 2013
|One-of-a-kind, hand painted Ornaments by Lorraine Watry ©2013|
I purchase the ornaments at a local craft store. I begin by painting the front of the ornament with white acrylic. When this is dry, I lightly sketch in pencil my design and then using acrylic paint, I paint in the scene. Some images go quickly and others need several layers and more detail. When the paint is completely dry I may add some glitter or crystal beads to some of the ornaments to make the snow sparkle.
The finished ornaments are then sprayed with three coats of an archival sealer to protect them and give them a glossy look. These ornaments are headed to the gallery I am at in Old Colorado City, Arati Artists Gallery. They are priced at $30 each. If you are interested in purchasing any of the ornaments seen here, please contact me on this link - Lorraine Watry.
Thursday, December 5, 2013
|Glass Menagerie by Lorraine Watry ©2013|
The next step was to block out all the highlights with masking fluid. It is better to save more whites in the beginning because you can always paint some of them out later. Then I started with the upper right corner and just started painting the shapes in the white glass bowl. Having strong contrasts and looking for all the little abstract shapes when painting glass is important.
One of the changes I made from my photograph was to paint the little glass pieces around the blue bird red instead of the blue that they are in the photograph. I did this for two reasons. The first was that the red helped the blue bird stand out more and the second reason was to spread the red around the painting a little more.
After finishing a painting, especially a busy one like this, it is important to look at it for a while to make sure there are no areas that need adjusting. I looked at my painting from across the room and in different light, I also looked at in reverse in a mirror and saw a few areas that I wanted to adjust. After making the adjustments, I removed the masking that had saved the white of the paper and painted in the areas that needed color. The rest of the masked areas were cleaned up by painting some of the surrounding color to make them look less cut out or I scrubbed some of their edges to soften them to look like highlights on the glasses, ex. as seen on the green goblet in the upper right hand corner.