critique please 3 pears
- Thread starter ntl
- Start date
Jo Castillo
Supporting Member
- Messages
- 3,704
I can’t critique as I’m unskilled in watercolor. I do like the painting, colors and design. I like the spots on the pears. Well done.
Jo, thanks for commenting. I, too, am a rank (both definitions 
) novice in watercolor. It helps knowing what you do --and do not--like. I know that wc paint works well with wc paper. It handles differently than oil!
This transparent stuff is easier in the clean-up stage, so I'll stick with it to learn. And I leaned a lot with this one, including repairing an error or two, a bit about mixing and layering color.
) novice in watercolor. It helps knowing what you do --and do not--like. I know that wc paint works well with wc paper. It handles differently than oil!This transparent stuff is easier in the clean-up stage, so I'll stick with it to learn. And I leaned a lot with this one, including repairing an error or two, a bit about mixing and layering color.
Last edited:
I actually like this a lot! The strathmore paper is good for handling water, but not so good when it comes to lifting, the paper likes to "pill". Buy some different papers to try - and see how each handles. I work with different papers, depending on what I'm going for, since each paper handles the water/paint differently. If you want your subject to "pop" more, either don't do a background color, or use a very light consistency ( like a very weak tea). Try painting thin paint (watered down) - and try painting with thick paint. I sometimes just take the paint and squeeze from tube directly onto paper - and paint from that. The biggest thing I ever learned about watercolor, is embracing the "mistakes", and working with them. Keep it up, you are off to a great start!
Donna T
Well-known member
- Messages
- 2,546
CaliAnn has some great advice and even though I do very little with watercolors I know the kind of paper makes a big difference. You did nice work on these pears and I especially like the texture that developed in the background. It's interesting but not distracting. Did you paint these from life? If so and you do more I'd suggest trying to light them so there is strong light from one side only. It helps me when there is a strong light and shadow side that defines the shapes of what I'm painting. I hope to see another version of these pears - maybe a series!
CaliAnn. Thank you. I’ll look into getting a few other sheets/pads. I’ve used the Canson paper too, but that’s it.
Good suggestion on the background. What’s there is a continuation of the experiment. The next step was to cut the bg off and applique the pears and table to another paper… Weak tea would have been much better for this.
Donna, thanks for your comments. Yes, it was done from life, the models are from a tree behind the house. They were lit from directly over top, that’s why the shadows are sort of the way they are. Unfortunately I couldn’t darken the room more, but tried to compensate via stronger shadows on the pears and box. Thank you. I have several more waiting to star in a painting. And there’s more on the tree yet. (October) The red underpaint for the bg was an experiment in both color and using salt on the paint. I did not like the red color, but did like the salt, so I added a gray wash over the red when it was dry.
Arty, thanks you. I will keep working on them. I appreciate your commenting.
Good suggestion on the background. What’s there is a continuation of the experiment. The next step was to cut the bg off and applique the pears and table to another paper… Weak tea would have been much better for this.
Donna, thanks for your comments. Yes, it was done from life, the models are from a tree behind the house. They were lit from directly over top, that’s why the shadows are sort of the way they are. Unfortunately I couldn’t darken the room more, but tried to compensate via stronger shadows on the pears and box. Thank you. I have several more waiting to star in a painting.
And there’s more on the tree yet. (October) The red underpaint for the bg was an experiment in both color and using salt on the paint. I did not like the red color, but did like the salt, so I added a gray wash over the red when it was dry.Arty, thanks you. I will keep working on them. I appreciate your commenting.
Donna T
Well-known member
- Messages
- 2,546
ntl, I have good luck putting still life objects in a big, overturned cardboard box to control the lighting. I cut a hole in one of the sides so I can shine a light through it and I adjust the height of the objects by setting them on old books if necessary. You can tack up construction paper or fabric pieces to alter the color of the background and create interesting opportunities for reflected light effects too. It's amazing what a single source of light can do for your set-up. You're so lucky to have a pear tree for a fresh supply of models!
classic
Well-known member
- Messages
- 197
I love pears as models. Their shape is very characteristic. I did make such small pear paintings me too. I started by some sketching / drawing exercises with a graphite pencil on paper, to better understand the subject's shape as well as its curves.
It is true that a less vivid background helps to concentrate on the subject. Same for the base too. The paper is always a key point for the watercolor, however I guess painter's experience is much more important. I initially used some low cost (school level) colors and paper (200 gsm). It didn't behave well with very wet techniques. Recently, I bought a Cotman Winsor & Newton set and a pad of 300 gsm watercolor paper Cardinal from Clairefontaine (50% coton). These new materials although much more expensive that the previous ones gave inferior results: I think, because I didn't know how to use them efficiently.
Some critique? I know (from theory, but I'm not able to reproduce it well) that the colors become darker and less saturated in the shadows. This would be perhaps easier to make with some simpler geometric solids like cubes, than with curved surfaces and their gradual effects.
It is true that a less vivid background helps to concentrate on the subject. Same for the base too. The paper is always a key point for the watercolor, however I guess painter's experience is much more important. I initially used some low cost (school level) colors and paper (200 gsm). It didn't behave well with very wet techniques. Recently, I bought a Cotman Winsor & Newton set and a pad of 300 gsm watercolor paper Cardinal from Clairefontaine (50% coton). These new materials although much more expensive that the previous ones gave inferior results: I think, because I didn't know how to use them efficiently.
Some critique? I know (from theory, but I'm not able to reproduce it well) that the colors become darker and less saturated in the shadows. This would be perhaps easier to make with some simpler geometric solids like cubes, than with curved surfaces and their gradual effects.
KreativeK
Moderator
- Messages
- 2,599
Well, I thought I'd replied to your post but must not have or it has disappeared. As a watercolor instructor I'd mention the same thing I do for students. For the most part all color is mid-tone/middle value. Needed are at least 3 values: light (usually white of the paper), mid, and dark. Since your white is gone and mids already established, go for adding darks. Pear colors are fine and varied which is good. A dark red purple background behind them should pop them up and out. That color is the complement of the green item the pears are sitting on. Darker green cast shadows they have should be darker as well. Just my humble opinion and hope this helps you.
First, I apologize for my delayed response
snoball, thanks. My goal was individual shapes, the different colors and markings, and shading.
Classic, thank you. I thought these pears worked well to, there’s so much to them. My paper here was 140lb Strathmore, It’s my inexperience showing, not the paper quality, I think. These paints are Pentel tube paints that were dried.
“... the colors become darker and less saturated in the shadows. This would be perhaps easier to make with some simpler geometric solids like cubes, than with curved surfaces and their gradual effects.”
That’s a good way to say it. I didn’t do so well either, did I. Maybe next time.
Kay, thanks. You’re right, I did lose the white, or it’s so small it’s negligible. I think I tried to use yellow as the lightest. And I’m STILL afraid of the dark! I will be more aware. I agree, the shadows need to be darker—as classic said, less saturated.
Thanks.
snoball, thanks. My goal was individual shapes, the different colors and markings, and shading.
Classic, thank you. I thought these pears worked well to, there’s so much to them. My paper here was 140lb Strathmore, It’s my inexperience showing, not the paper quality, I think. These paints are Pentel tube paints that were dried.
“... the colors become darker and less saturated in the shadows. This would be perhaps easier to make with some simpler geometric solids like cubes, than with curved surfaces and their gradual effects.”
That’s a good way to say it. I didn’t do so well either, did I.
Maybe next time.Kay, thanks. You’re right, I did lose the white, or it’s so small it’s negligible. I think I tried to use yellow as the lightest. And I’m STILL afraid of the dark! I will be more aware. I agree, the shadows need to be darker—as classic said, less saturated.
Thanks.
