All posts tagged Painting

colors on my mixing plate

 

My palette of choice for mixing my watercolours is an old porcelain plate.

If I need a large amount of the same colour for a series of paintings such as for At The Pond, I will use porcelain bowls of different sizes.

I have plastic ones but I find they can get scratched over time and then are hard to clean.

The porcelain plate cleans up beautifully and the intensity of the white glaze gives the paint a transparency similar to the paper.

Just try to get pure white ones with no design or colour to conflict with your colours.  The best and most inexpensive were picked up at an Asian food store near my studio.

Or just check out the nearest reuse store near you.

 

 

 

Open House Invitation

Invitation to open house

If you are in the Guelph area next weekend, please drop by my studio to see the original paintings and studies that went into “At The Pond”, my latest book that was short-listed for the 2018 Governor General’s Award in Children’s Illustrated Books.

Date:               Sat-Sun, May 11-12

Time:          10:00 am – 4:00 pm

 

Address:         Catch 23 Gallery

23 Wyndham St North.       N1H 4E4

 

I will also be doing live demonstrations and sharing the process behind “At The Pond”, from sketches to practice paintings, maybe even stretching paper. I hope by sharing my journey, I can help to inspire those of you interested in creating your own illustrated books or for anyone who is curious.

The exhibit will be available until May 31st. After May 12th, the exhibit can be viewed until May 31st  in person by appointment.

Please contact me atthepond@wernerzimmermann.ca

I will also be posting more “At The Pond” process work here, so make sure to check for updates!

Hope to see you next weekend!

pencil study of a frog

Well, I suppose ‘easy’ isn’t the right way to describe it, but when illustrating a story, there are a few steps that must be taken.  I’m using the images here from an exhibition I once put together called ‘From the Inside Out: stages in the making of a Book.’

From the Inside Out: Stages in a Picture Book

For this I’ve taken examples from ‘In My Backyard’  written by John DeVries and illustrated by yours truly.  I admit I’ve chosen it because for it, just as I am doing currently, I drew a frog.

Step 1:  divide the story so that it will fit into the number of pages for a book.  This is important because for cost reasons and simplicity of printing and cutting up the pages, picture books are generally either 24 or 32 pages.   I don’t think there are many people who would like to buy a book with the end missing, or a bunch of empty pages at the end  unless I suppose you got to draw in them.  Some stories are easy to divide up, but others take a lot of thinking on what page which words will go. Sometimes a page has no words at all.  If you’re doing a book,  give this a lot of thought.

Step 2:  Characters (or places).   Most books will have characters.  It’s very important to take time to know your character.   Taking time to sketch your character from every possible angle and view, and every possible expression is valuable.  No one wants a character to change from page to page, unless of course that’s part of the story.  Keeping your character the same is a challenge and takes practice regardless how simple or complex.

Step 3:  Rough linears.  They are called that for two reasons:  1) they are rough, and 2) they are just lines.    This is important.  Never get into details too soon.  This stage is when you sketch out your ideas for the whole book, not just individual pictures.  You want to work fast, small, and therefore quite rough.  If you put too much detail in at this time you will be hesitant to want to toss the drawing or make changes should there be a problem with any particular drawing fitting in to the overall story and look of the book.

Remember, it’s a book, and not just one page you are drawing.

Oh, I forgot to add, and never forget this: this is when you decide where the words will be in the pictures.  It is important that you consider the words a part of the picture, and not an afterthought.

Step 4:  Clean linears.   This is when you clean it up before you put on any colour .   This is when you can finally put in all the details you want.  In fact, this is when you decide what will be in the picture and what stays out: NO ADDING AFTER THIS!  No kidding, this is when all the decisions about design other than colour are finalized.  If you don’t, you will only have horrible confusion and a lot of tears later.  Well, maybe not so bad, but if you make changes after this, it truly can be confusion and tears.  I write from experience.  Trust me.

Step 5:  Paint!  Yes, this is when you can have fun and splash and toss and smear and….Ouch!  I didn’t say that, did I?    Yes you get to paint or use whatever technique you want, but at this point you should have everything figured  out so that there won’t be any surprises.  And yes, there will be, but that’s part of the fun.

Good luck!  Enjoy!

p.s.  you may have noticed that one of the sketches in the book ended up not only in the book but also the cover.  It doesn’t always happen that way, but when it does, Bonus!  You get some time off to go play.

Just as important as finding the right words for a story, finding the right colours for a book takes a lot of consideration.

Colour of course is only one of the many things that make the pictures in a book both interesting and pleasing.  Colour sets the mood for the book.  It sets the ‘feel’ that the author and illustrator want the reader to experience.  Colours also move the eye through the book.

I have a lot of colours to chose from, and yet I have to narrow it down to just a few.  That’s not to say you could use as many as you want for, lets say, a garden of many flowers or people with different cloths.  Of course that would be ok.  But I have found that a few well chosen colours can tell a visual story much better, at least for me.

For this new book I need to paint a goldfish pond. I’ve chosen mainly greens: for lily pads, for the water looking down into the pond, and for the frogs.  But goldfish are anything but green, and yet even though they are very orange, they have to fit to the picture.  And of course what is a pond without a water lily.  This one is white.  But every artist knows there is no pure white in nature.

The last problem that has to be solved is how my paints get along, not as colours, but as chemicals.  It’s true that some of my colours are really just dirt, but others are chemicals, and they don’t always get along.  Combinations which should be simple can be disasters since they just don’t want to mix.  Or they don’t like being put on top of each other; pulling the bottom colour off the paper even if it’s dry.

So you see, choosing the colours for a picture book is both fun and a bit of work. And for that reason you can see there are many tests and tries just to get it right even before I start the actual pictures that will end up in the book.

I’ve been splashing a lot of green paint in the last few weeks for my new book.  It’s been fun drawing and painting frogs.  I haven’t done that since ‘In My Backyard.’

These are practice pictures.  Painting water lilies has been a challenge. I’ll be doing quite a few more to get it right.

pencil study of a frog