Examples of Three Point Design - Abstract Watercolor Paintings

Art, Math and Science combine beautifully to create images of movement and depth.  At last night's opening of my latest exhibit, Guided - Journey into the Fourth Dimension, I was pleased to hear from guests how compelled they felt to enter into the paintings and wander around exploring the space.  That space proved quite different for each viewer.  One of my goals as a painter is to provide a space for viewers to explore life, both external and internal.  The similarities between the macrocosm and the microcosm cannot be ignored.

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Various stages of textured layering

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Abstract Watercolor Painting derived from three points

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All of the shapes are derived from three points outside of the picture plane.  These three points are the vertices of an arbitrary triangle.  From those points, measurements are taken and arcs are drawn.  the intersecting lines and curves create new points from which measurements are taken and arcs or straight lines are drawn.  With the resulting shapes as a foundation for the painting, layers of watercolor are applied until the space through which a viewer may travel is created.  At that point, the painting is complete..... and I move on.

Examples of Three Point Design - Abstract Watercolor Paintings

Three Point Design Part Two

Developing the painting ......

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Yesterday I posted Part One of the video showing how to create a geometric design composition based on three points, the vertices of a triangle.  Here is Part Two, illustrating how I create textured layers to define the shapes, values and rhythm that make up the composition of the abstract painting.

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The Color Scheme is Extended Analogous.  the Dominant Color is Orange.

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Extended Analogous Color Scheme - Watercolor

Three Point Design Part Two

Color Scheme Game Workshop, Santa Rosa, CA

April 25th & 26th  - Two-Day Workshop - 10 am to 4 pm

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Village Art Supply, 715 Hahman Dr, Santa Rosa, CA 95405  (707) 575-4501

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Day One: Introduction to The Color Scheme Game and basic Color Theory.  Each student receives their own set of templates, rules and twelve-sided die to play the game.  An easy and fun method to learn the characteristics of each pigment and the ease of choosing colors for more expressive and successful paintings.

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Day Two:  Building on the experience of playing The Color Scheme Game, students are introduced to thinking about the grayscale value of each pigment at full intensity.  Hues will be chosen for their value, not their hue.  The result?  Incredibly strong and expressive paintings with creative color schemes.

Upon registration students may pick up their game kit at Village Art Supply to begin playing the game prior to the workshop if they wish. When I receive notification of registration, I will send a materials list. .

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Color Scheme Game Workshop, Santa Rosa, CA

Exercise: Abstract Geometric Design

Create a composition based on the three vertices of a triangle.

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All of the shapes that make up the structure of the painting below relate in one way or another with three points.  The points were chosen arbitrarily, each one outside the boundary of three sides of the rectangular image space.  A straight edge, a pencil and a piece of string are the only tools necessary.  The string makes a wonderful, easily adjustable measuring device and compass.

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The short video below shows the method of determining the shapes.

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Three points are chosen, one on the outside of each of three sides of the rectangular picture plane.  The points are connected to created a triangle. A string is used to determine the radii of various arches based on the distance between any two vertices of the triangle.  Any intersection of lines, either straight or curved are acceptable points from which to take another measurement of radius for a new arch drawn not from that point, but moved to a different point so that your new line or arch will not intersect with any other point of intersection.  Switch back and forth between determining new straight lines and curved arches.

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Continue to divide your shapes until you feel there is a strong composition composed of parts that vary in size and shape.  Try to develop a sense of rhythm and energy, an interaction between your shapes.  This is the skeleton, the foundation of your painting.  When the foundation is strong, it allows for more freedom when you begin to apply color.

Image:  Drawn first in pencil using the method described above.  Followed by watercolor and charcoal shavings rubbed into the surface.

This is one of the methods I will be teaching in the upcoming Watercolor Technique Workshop in Santa Rosa, CA on April 25th & 26th at Riley Street Art Supply.  Click here to register: Watercolor Techniques Workshop
Exercise: Abstract Geometric Design

Exercise: Exploring Neutrals in a Limited Palette

In the last exercise you created a color wheel and color strips using a limited palette of three hues.  One or two of the hues fell into the category of rarely being used or least favorite.  Hopefully you discovered that your ugly hue produced some pretty nice neutrals.  Exercise: Creating a More Neutrali ed Color Wheel

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Draw three rectangles the si e of Artist Trading Cards, 2.5" x 3.5" (or larger if you wish).  Create different abstract, geometric designs on each.  I used circle templates, triangles and french curves for quick design patterns.  Using the color palette from the last exercise, paint the three drawings.  Each one should emphasi e a different segment of the color wheel, exploring further the color combinations possible with that specific limited palette.  Throw the dice and play the Color Scheme Game with that palette if you wish.

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Orbs No. 3

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My palette for the paintings above was Raw Sienna, Cadmium Red Deep and Ultramarine Blue.  I'm already looking forward to trying out another one of my ugly colors.  Hmmmmm.  I can't think of another color that I don't like as much as I didn't like Cadmium Red Deep.  Now, I can't say that I don't like it.  I used this palette for six new paintings that will be dropped off at Connexions Gallery tomorrow morning.  All six of them are watercolor paintings.

 

 

 
Exercise: Exploring Neutrals in a Limited Palette

Exhibit at Connexions Gallery, Easton, PA

I've neglected my blogs in favor of painting and framing for my upcoming show at Connexions Gallery.  While preparing for the watercolor demo at the Hunterdon Watercolor Society I happened upon another technique that I have become enthralled with.  In addition to my recent addiction to my mouth atomi er, I am rubbing graphite or charcoal filings into the paper as a final touch to emphasi e shapes and values.  My fascination with these new techniques has caused me to alter the selection of paintings that will be hung at the exhibit.  The rest of the week will be spent framing.....

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I've been searching for a way to bring together my love of drawing and my love of splattering. I've been blind to the most obvious solution.  Drawing with pencil or charcoal stick produces edges that are sharper than I want.  Using a cotton swab or blending stump works well to control the value as well as the edges.

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Paintings - Shapes created initially with a variety of templates, kitchen utensils and carpenter tools.  Layers of watercolor created texture and movement.  Graphite and Charcoal rubbed into paper for final definition of shapes and values.
Exhibit at Connexions Gallery, Easton, PA