Contemporary Realist working in gouache & watercolor. Sometimes working in acrylic and oil. www.bill-kassel.com
Friday, February 26, 2016
Finished - Winter at Conrad Weiser Homestead
Finished
Winter at the Conrad Weiser Homestead
5 x 7
Gouache & watercolor
This painting along with many others (including prints and note cards) will be available at Artisans In The Park
April 30th - 9:00 AM -4:00 PM
Conrad Weiser Homestead
28 Weiser Drive,
Womelsdorf, PA 19567
Wednesday, February 24, 2016
On my easel "Winter at Conrad Weiser Homestead"
Presently on my easel - Pass #1
Winter at the Conrad Weiser Homestead
5 x 7
Gouache & watercolor
This painting along with many others (including prints and note cards) will be available at Artisans In The Park
April 30th - 9:00 AM -4:00 PM
Conrad Weiser Homestead
28 Weiser Drive,
Womelsdorf, PA 19567
Winter at the Conrad Weiser Homestead
5 x 7
Gouache & watercolor
This painting along with many others (including prints and note cards) will be available at Artisans In The Park
April 30th - 9:00 AM -4:00 PM
Conrad Weiser Homestead
28 Weiser Drive,
Womelsdorf, PA 19567
Friday, February 19, 2016
Here is my best 'recipe' for flesh tone colors:
Here is my
best 'recipe' for flesh tone colors:
1. Titanium white
2. Cadmium Red Light
3. Cadmium Yellow Medium
4. Yellow Ochre
5. Burnt Sienna
6. Burnt Umber
7. Ultramarine Blue.
Also have Payne’s Gray on hand to darker tones
For light flesh tones use colors 1, 2, 3, and 5.
For medium flesh tones use 2, 3, 4 and 5.
For dark flesh tones use 2, 5, 6 and 7.
Don't waste your money buying ready-made, so-called flesh tints. Simply mix some white, yellow or golden ochre, and a strong red such as cadmium red. Keep the amount of red to a minimum to avoid going too pinkish. For darker tones, add some Payne's grey.
All you have to do is remember this:
"Red, yellow, brown, and white-that is how you mix your skin tones right."
1. Titanium white
2. Cadmium Red Light
3. Cadmium Yellow Medium
4. Yellow Ochre
5. Burnt Sienna
6. Burnt Umber
7. Ultramarine Blue.
Also have Payne’s Gray on hand to darker tones
For light flesh tones use colors 1, 2, 3, and 5.
For medium flesh tones use 2, 3, 4 and 5.
For dark flesh tones use 2, 5, 6 and 7.
Don't waste your money buying ready-made, so-called flesh tints. Simply mix some white, yellow or golden ochre, and a strong red such as cadmium red. Keep the amount of red to a minimum to avoid going too pinkish. For darker tones, add some Payne's grey.
All you have to do is remember this:
"Red, yellow, brown, and white-that is how you mix your skin tones right."
Thursday, February 18, 2016
How I stretch watercolorpaper
Stretching watercolor paper
keeps it from buckling while you are painting on it. It is not necessary for
300-pound paper, but lesser weights of paper will immediately start buckling as
soon as you add a wash to them. 300 pound paper is very expensive, so many
watercolor artists buy 140- pound paper and stretch it to a hard surface.
You need a hard backing surface to stretch the paper to. I use gatorboard. Gatorboard is basically a super-thick piece of foam board. It's lightweight, easy to staple (and remove staples from), and doesn't mind getting soaked, so it's perfect for this purpose.
You need a hard backing surface to stretch the paper to. I use gatorboard. Gatorboard is basically a super-thick piece of foam board. It's lightweight, easy to staple (and remove staples from), and doesn't mind getting soaked, so it's perfect for this purpose.
Steps:
1. First cut the paper to the size needed.
2. Run the paper under cool water in the sink or bathtub, until it's wet everywhere. Then let the water drain off of one corner until it stops running and starts dripping.
3. Lay the paper flat on the board and smooth it out with the sides of my hands, starting in the center and working my way out, pushing the excess water puddles off the sides.
4. Let it sit for a few minutes until the paper no longer looks shiny.
5. Start stapling the paper to the board along the outer edges of the paper. Start by putting one staple in the middle of each of the four sides, then work towards the corners, a few staples on each side of the paper at a time, putting the staples at the corners last. Use the side of your hand to smooth the paper and pull it taught.
6. Let the paper dry thoroughly. You can use a hair dryer to speed up the drying.
7. Tape all the edges with painters tape (I prefer Frog Tape) to keep water and paint from running under the paper while you are painting. It also makes a nice clean edge all around the painting when done.
Tuesday, February 16, 2016
Capturing my Heart - pass #3
Currently on my easel - Pass # 3
Capturing my Heart
14 x 8
Medium - Gouache on 140# Canson watercolor paper
Getting close to being done.Capturing feeling is the most important part of a painting, this is what makes it come alive and not be too stiff. Over-working a painting can kill the feeling.
Capturing my Heart
14 x 8
Medium - Gouache on 140# Canson watercolor paper
Getting close to being done.Capturing feeling is the most important part of a painting, this is what makes it come alive and not be too stiff. Over-working a painting can kill the feeling.
Friday, February 12, 2016
Capturing my Heart - pass # 2
Currently on my easel - Pass # 2
Capturing my Heart
14 x 8
Medium - Gouache on 140# Canson watercolor paper
Monday, February 8, 2016
Wednesday, February 3, 2016
Finished another painting for the Artisans in the Park
of the Conrad Weiser Homestead Springhouse
This painting along with many others (including prints and note cards) will be available at Artisans In The Park
April 30th - 9:00 AM -4:00 PM
28 Weiser Drive,
Womelsdorf, PA 19567
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