Mike Hernandez Gouache Demo at Carmel Visual Arts

July 29, 2019 posted by

visual arts today we have the pleasure of watching viewing gazing at Mike Hernandez's work as he builds a gouache painting for us Mike is he's got a long history of painting I'm not gonna even go into it I'm gonna just let you guys watch what we're doing here sign up for our YouTube channel subscribe to find out when we're going live again and check out all the great videos that we have on here so we've got several coming up soon and that schedules on Karmel visual arts dot-com you can see the schedule of our upcoming demo nights and most of those will be be going live so here we are hey Mike thanks rich yeah and thank you guys for showing up and thank you guys on YouTube for tuning in welcome to the demo so I think this is my second time doing a demo for you rich last year I did something I think that might have been Point Lobos I chose garl Pot I just decided to keep it local and keep it relative to the workshop that we're doing today when I'm painting gouache I tend not to paint very big I've got some examples of my work on the wall I don't know if you guys are able to see that on your channel but for you guys out here who's seen these that's about as large as I'll ever paint outdoors that's 11 by 14 and that was over at over there where the the golf courses Pebble Beach but that's a really big size for gouache and the reason I tend not to paint as large with gouache something that sighs is that it doesn't spread quite as fast as oil doesn't a canvas oil on canvas spreads like butter and it's really quick it's really nice and gouache on board even if it's very very wet the board is like a rag it's I paint on cold pressed illustration board for the most part it tends to want to soak up the paint the media when it gets to the surface so I try to paint my comfortable painting sizes like 6 by 8 6 by 9 8 by 10 at the very most that's my comfortable size for gouache and then anything after that I would prefer to just go to oil with it so today again like I said I'm keeping it to the seascape the image that I'm using here that I've got on my laptop is a photo from Gary Potter Beach and what I love about that part of the beach is just how that IV tends to want to change different colors and it goes into these beautiful red red tones so first thing I'm going to do is consider the composition for that painting and so what I like to do is just a clip color sketch before I even do that I'm gonna put in a bit of a wash in a lay and for the background and to make things easier I tend to pre wet my canvas before I even put any paint on there because that way it'll avoid any streaking yeah it's not the worst thing in the world in the beginning of the painting to have a little bit of streaking but that can tend to be a little distracting since I'm gonna use this layin in the background as my underlay it's not gonna matter as much but if you want a nice even wash it's a good idea to pre wet the canvas tour pre with the board a little bit I like using burnt sienna washes for my tones when I lay in so I'm just gonna put a quick wash burnt sienna and that's fine for now so once I put that in you could wait for it to dry but it's not necessary as I'm doing a layin I can lay in with burnt umber and or burnt sienna and start the composition the first thing I'm considering in the composition is what this painting is all about and when you look at the reference here the first thing you see obviously is that gigantic rock but the things I need to consider is how much rock – how much ocean is going to be in this painting you know I don't want the proportions of water and the proportions of rock to be the same so right now that's really challenging so I need to consider that the most important part of this painting for me is it's not about really the rock you know it's about that splash on the rock that to me is kind of the the focal point and I don't want to put it on center so I'm thinking you know that's black you probably somewhere around here and I want to make sure that I maintain the right sense of scale for that action to happen so as I'm starting to sketch in I'm going to consider my proportions this is a proportion up here the rock itself is a proportion and then the sand is a proportion so if I figure I want a thinner proportion of blue on the top here I'll squeeze this up a little bit higher and come out to this point there and then I will consider my proportion of the sand here and then have enough room just for that white water and then the crashing wave right about here so by doing that I start out with a composition that isn't flat that's given the Isum variety for this proportion and not just the proportion but all of the positive and the negative shapes I think of what what what shape is being made up here that's different from the shape that's being made here and then the shapes that are being inherently made down here everything is a shape to me even the white water this in and of itself is a shape this sand is a shape the whitewash is a shape and then the rock in and of itself is mostly one shape but it can be broken down into what's IV up here and then what is gray rock so there's a lot of Ivy here I'm gonna sacrifice I love all that Abbi but I'm gonna sacrifice a bit of it so I can kind of get most of what I have going on with the rock here and scale is important for me relative scale as I'm sketching is is definitely a massive consideration to get the sense that this rock is very very big I need to make sure that I have my small shapes against my medium shapes and my large shape although those are our plain against each other so to make sure I'm getting my scale correctly I'll think of the window of that rock on the bottom here kind of look like an elephant which is interesting but I think of the window the little hole on the rock here and then I'll think of the halfway mark between the top of the rock in the bottom of the rock and know that this is well below this is probably a quarter of the height of this part of the rock so I feel like it's about right if that was the centre right here I am a quarter of the total height of that rock so then I know that I've got that part nailed down and I don't have to be true 100 percent religious to what's going on in the drawing but I do want to get that scale get the sense that this rock is pretty big the thing to consider when you're doing alayan as well is making sure that you don't put too much information into the layin it's not the same as doing a sketch in a sketchbook with pencil and the end result is a lot more detail alayan for a painting needs to be just some of the most essential marks and if you put too many marks in the stages of your land that tends to slow you down and and what ends up happening is it becomes kind of a paint by number and I tend to try to have a lot more freedom and movement in gesture in my paintings and if I'm if I've got too much of a lay and it's gonna slow me down to want to stay within those lines so I kind of open it up and I leave a lot of the the drawing to be figured out in the painting stage so I feel like that's a fair compromise with the composition and I also want to make sure that I've got all of my angles in there considered you know one of the most important things about composing your shapes is thinking about breaking everything into lines and angles making sure you don't have too many parallels and because the aisle the image will go flat if there's too many parallels in there so I need to consider all of my lines you know I consider the big lines I want to make sure that this angle right here the top of the rock is greater than the bottom angle over here that this has got a subtle sloping in on it it's mostly straight and then this is much more of a name a higher aggressive dynamic angle pointing down so that angle right here is really important to make sure that this angle wouldn't be the same as this angle that the degrees wouldn't be the same rather I'm favoring a higher angle on top here so that's number one that's one of the biggest things we made sure that we broke the painting up into fours in our mind and mentally have this favoring mostly the right side as it interrupts the page this is coming in from screen left to screen right and it stops abruptly at the wave which is really nice and we've got a cache shadow over here that I should put in as well the other thing I need to consider in the composition of the painting because again all of these things are more important than the end result of the painting no matter how much paint and modeling I put on this form if my composition and my drawing isn't working then it's all for all of that color and all that lighting and texture and detail is for nothing it would be for nothing so I want to make sure that the composition is sound before I get started so this is better I wanted to put this up a little bit higher to keep this more of a straight plane on the base to a higher slope on top I also want to consider all the other angles there is an angle here to the rock and then we have angles here we have angles here and so for example I've got an angle here I definitely wouldn't want to put another parallel angle just like it right here to go like this and this a lot of times where you rock like this that's broken up into a lot of lines there's a tendency to do a lot of paralleling in your lines and that'll just kill the form of the rock it'll flatten it out you want some dimension where if you have a line like this the next one might be slightly off you might have one that's more straight and one that's more curved you know also when you're doing lines in the painting which I don't advise you do too many of you know in a painting unless it's the part of part of the style of the painting is to make sure that you're not painting too many lines but lines are being created when two different values meet and if you do indicate line in here that you're indicating it was thick's and Thins and different variation within those lines or that too will also flatten out the composition in the drawing so I'm making sure that all of my angles are sound in the painting that I've got an angle here I got one out there I've got that angle down there I've got a curve down here that's really nice that's gonna also add to the dynamics and the painting now that I've broken everything into straights I want to now start thinking about the straights against the curves and I've got a curve here which is really nice playing against a straight over there I also have a couple of straights here against a curve over there I have a curve here too a straight so always reinforcing those things in the composition it goes beyond the fact that you have a photo reference you know you can just look at the photo reference and copy it but if you if you think you're copying what's gonna end up happening is you you won't reinforce those things that help to add elegance to the structure of the painting and the structure of the subject that you're painting the rock is going to become that very masculine part of the painting where it meets the ocean which is that feminine portion so I want to strengthen the structure of all of this rock here and how rigid all those shapes are so a lot of this stuff I can also figure out and I can discover in the painting as well so I think for now that's a pretty good lay in that's all the information I'm gonna need and I'll discover a lot more of these things in the painting as I go so the next thing I want to do is I want to start blocking in the big shapes the water is one of those really big dominant graphic silent shapes how I break the painting down into its components is like I talked about the rock is the masculine feature it's got a lot of those those sharp angular textures in it that I think they're gonna be really bold and beautiful in the painting and then the ocean is that one big feminine feature the thing I love about the ocean is how just how unobstructed it is by any other crashing waves or details out there it's a very quiet quiet shape but in terms of the detail in there and the textures I know that the sand is one of the smoothest things I'm gonna have the white water has this texture the ocean is pretty quiet it's just kind of a beautiful gradual color but then the rock is where all of my color textures and and shapes and hard and soft edges are gonna happen which is gonna make it you know really fun to paint so what I'm gonna do is just lay in that big chunk of blue water first and I'm gonna mix a bit of salò turquoise light in the beginning of the painting by the way in and I think this applies to oil as well is with gouache you want you want to start with colors in paint that are thinner and they're leaner in the beginning so you're gonna put a lot more water in the beginning of the painting like I think in oil you'd probably also possibly start out with more more medium in the beginning of the painting to kind of get the painting to wash wash in most of the looser shapes and you probably wouldn't start in with a lot of your thick paint at first depending on the style you're painting in but with with gouache you want to start in with your washes and you're gonna use a lot more water for these things and then we'll build into our thicker paint later this is going to be banging around a lot since put that on the other wrist if I can retain a lot of the lay in the underlay the under wash in there in the painting that'll be really nice so I'm purposely kind of scumble across you know hopefully I won't lose that sometimes I may have to overwork certain areas and I may loose it lose it but you could always reinforce and come back in and redo those areas I'm adding a little more spectrum violet and ultramarine to that blue to get some more that deeper water the deeper color to play against that turquoise and then I can also add a little bit more magenta to get some variety in that water quality the ocean what's really beautiful about painting it is it wants to be treated like a gym it's got the qualities of a gym it's got very translucent qualities you know at an angle like this the water is picking up a lot of the sky but that water in and of itself is kind of like a jewel that it has a depth to it it has a transmittance and a trends trends and lucency to it that's really beautiful light transmits and as it goes deeper it turns into different colors and shades in it but then it has these specular highlights and things on top of it so it feels like a jewel and a gem which is really beautiful and that whole contrast between the gym and the rock that isn't transparent at all it's all surface light and it's edgy and it's faceted is a beautiful contrast between the ocean and so painting those two things is great so I don't want to put too much going on in the water so I'm lightly brushing across the surface just to get some broken broken color in the painting and again it's starting to texturize it a little bit but I'm not worried because I know I have so much more room for faceting and getting more interesting stuff here that just a little bit of visual interest in breakup of the water is gonna be really nice and as it moves forward here then it's gonna start to go a little more neutral and Sandy a little more ochre white and violet I want to key certain things in the painting you key color and you can also keep value so for me that nice turquoise blue color is gonna key just how orange that highlight it's gonna be in the painting for me is all about that orange highlight pointing to this crash right here and it's reinforcing this area and I love that and it's gonna that orange is gonna be just phenomenal surrounded by all of this turquoise and I want to play off of that I want to do things with that which are going to be really fun we'll play with more inflections and things that are going to go on that are complementary to it as well so the other thing I want a key is my brightest bright in the painting which would be this whitewash down here so I want to key in that color and I'm not gonna use too much water for that I'm gonna use just a damp brush and straight white and tint it with just a little bit of ochre at times I'm gonna try ochre other times I'll tent the white with violet two different kinds of violets I'll use like a dioxin spectrum violet on on some of those tints and on other tints I'm gonna use more of a magenta so considering the light source always think about your light and always think about your environment as you're painting it helps to constantly think about where the the key is and our key in this painting is the sunlight and it's coming from like a an eleven o'clock angle up here on the left which is giving us art we know that because of the direction of the cache shadows where the cast shadows are pointing gives us gives away the direction of the sunlight which is great and then the other thing we want to consider is our secondary light our fill light which is the canopy above us that we don't see but it's our sky this giant sky that's above all of this and that'll give away what's filling the top planes of mostly what you're gonna see in the shadow so when the cast shadow here we see the presence of that blue it's coming from the sky but we also see it into three quarter planes of the light down here in the high light side where it gets really dark in the water there's a little bit more of a purple in there but in this direction coming here like geometry instead of thinking of the water as just fuzzy think of it as geometry thinking about think of it as relative mass this these facing planes of the water of this direction are going to get that warm bright bright light and the kick of water here is going to get some of I'm just want to indicate where it might be that's going to get some of that facing direct warm sunlight it's 90 degrees to the almost 90 degrees and then as it changes planes what's going to happen is it drops down to another angle here on the water and the water plane down here if the sunlight is coming down like this it's not quite hitting it 90 degrees it's kind of skimming off of it a little bit and then the other thing that's happening is all that blue sky is also mixing with the sunlight and the local color of that sand or the white water and it's giving it like a warm violet hue a warm gray violet so I will take this and now when I do this plane up here I want to express that with a little bit of magenta and yellow together or diox or purple spectrum violet in yellow ocher and maybe even a little bit of red want to keep it warm I don't want to keep it yellow but I do want to keep it warm I want to put a little bit of violet and pink in it and that would be dimensional color so we're letting the color and the value give us form in the lighting and inform us about the form and the lighting so because now we have a little hue change right there you'll see that got a little more warmth in it and that's got a little bit more pink in it that's gonna that's gonna twist and it's gonna turn form a little bit for us so I just want to key that part of the painting and I'm gonna come back and I'll probably do a little bit more manipulating on that but as it falls away we have another place here work it's a little bit more I'm gonna mix a little bit of spectrum violet and a little bit of burnt umber and get the more transparent part of the water the whitewash mixing in with the sand then it goes into the wets and burnt umber and a little bit of violet spectrum violet a little bit of green make sure it doesn't get too sweet bring it up just a little bit more I might have gotten a little too dull I'm just going to move this for a second so I can get that stroke in there all these things are gonna be renegotiated in the negotiated in the painting but it's just important to get something down onto the board get something as a placeholder even though it's not perfect even though it's not the right exact color or maybe it's not the right shape or the right value you need to have something there for now then the color of the sand it's not too far off from the under painting that I have there that burnt sienna but it needs to have a little more of a golden warmth to it so if I mix a little bit of yellow ochre into that and I'm gonna go with ass and that's just a little bit darker because I want to pay attention to how bright this sand I mean let the sand but the whitewash of the water needs to be so I'm going to knock down that sand a little bit more and as I paint I like to be I like to push something a little more graphic when I'm laying in my strokes graphic meaning something that's a little more that's a little easier to read the shapes are cleaner and more simplified then I can articulate more shape later on in the painting if I want to all right so then I don't want to spend any more time in any of these areas I'm gonna like I said I can come back and do things to them I need to start knocking the rock down because I don't know what these things have to be yet until I know what this is you really know what what certain things are gonna be until you start to knock in all the other components so it's important not to get stuck overworking one area of the painting when you haven't put in all the other components that are gonna dictate what those things actually need to be so I'm gonna start blocking in the rock almost I always start in usually when I'm doing rocks I tend to go to my earth tones first and then add blues to that so I can do ultramarine and burnt umber and just start to see where that gets me for starters yeah so what I'm doing right now is I'm transitioning through the shadow of the local color of the rock as I'm mixing across of it one way to think of color is not just warm and cool color I know it may seem as simple as something's either warm or it's cool but it's more dimensional if you think of it as warm cool and neutral so I'm considering what parts of the painting go neutral which are relative only to this painting and then I start to mix warm and cool of that so I started out with something neutral here and now I'm going even warmer but as I went down here I started going cooler so I thought about the neutral color of the shadow of that rock and I'm starting to mix into it so as I go up higher here I'm starting to add warmer colors like oranges and ochre and red and yellow to start getting a little bit more color and then as I paint sometimes it helps to not be so careful then I'll have moments where I just want to become more of an abstract artist and try to take away that curse of being too too precious with the painting I'm gonna keep adding a little bit more of this warm cache shadow up here on the rock getting it prepped and get it ready for that orange highlight you can kind of see the underpainting is almost creating that that orange highlight up there just kind of warming up to it as I'm getting closer and closer to it and right there that very moment I just broke value but that's all right and it just lost mic value mic I'm gonna keep that right there see if that works I broke value in the shadow I went to bright with my value and I need to keep being so much darker yeah I lost my shadow value structure in there oh yeah and right there I just brought pushed it back in to value just kind of mixing with some of the paint that was already wet underneath it and then adding just a little more I just started toning down darker accompanied colors that I had in in my uh my palette I want to skew in on that gray highlight on the rock but I want to keep prepping the cache shadow in that area there's a cache shadow the forum is casting light onto this area here so I have I think I'm just using olive green in there now I'm gonna mix the gray highlight on that rock it's important that I use everything keyed properly the gray highlight on the rock over here as bright as it might look on the rock it's so much darker and grayer than what the sand is gonna be so I got to be very careful about making sure I get the right color and value for that edges are really really important to me in a painting I think it's important to a lot of painters into their their edges are working you know where I tend to start with my flat edge against I find an edge first and then from that edge I tend to want to build a stroke away from that edge to make sure that I've got something that's really clean against something that's a little more abstract and in in landscape painting in nature there is a lot of hard and soft edging on an object on anything whether it's even a cloud you've got your combination of hard and soft edges up there as well so it's important to maintain whether it's through your mixing or whether it's through the use of your brush strokes that hard and soft edge the give and take and just know that when you build a hard edge the eye wants to go and find it's a found edge it's a found contrast where I wants to go so it's important for me to build up whatwhat is hard and what is soft in my edge work and I still want to build a little more contrast between light and dark in here if you know the lights I'm getting on here good it's gonna lead up to a nice bright highlight here but this should go a little bit darker even though in the photo it is pretty high and key I want to bring it down so I can really bring out the light here got to be careful though I don't want this to get to visually interesting because my eye needs to be over here but I got a lot of room for it because it is definitely darker over here and that orange highlight I'm going to get on top of there as you're really gonna steal the show so I got some room to play with contrast on this side so now I'm just building up the wet base of this rock which becomes the darkest dark of the painting and I've got to be careful as I'm doing that as I'm putting it down I know that it's gonna look almost black when I first put it in and that's because when gouache is wet it tends to look very dark but in gouache your darks tend to dry a little lighter because it's a it has a matte finish to it so will never look as dark as that is so once that dries I know that it's probably gonna lift just a little something this is ultramarine blue and burnt umber I think it's pretty split down the middle it's right in the middle neutral because I don't feel the bias on it when I look at the painting doesn't feel a warm or cool it feels neutral to me and if you do that 50-50 split with the ultramarine and burnt umber it tends to go pretty neutral okay I'm gonna put in that highlight on the top of that rock again a very damp brush but not a lot of water I'm not going to add water to the paint so I want that to be solid opaque I'm going to use my orange and the orange I like to use is marigold yellow but it's basically an orange get it nice crisp if I had any water in this that would dry darker once it dries but because there's no water in it what you see is pretty much what you're going to get as it moves away from the tip of this rock though I want the color to transition so it's going to start off as that nice hot orange color here and then on this plane that's trying to give a plane that comes in here I want it to drop and get a little more desaturated and then maybe I can add a little bit of burnt umber to it or even burnt sienna and it'll keep it rich but it'll drop it in value and I can hit the plane change and every time you have a plane change and a value change you can get a color change and just kind of indicate a little bit of hot color there and I want to add a little bit of burnt sienna and get a turn in the rock up there I'm just hitting a couple little turns just to give this some sculpted dimension and some color dimension as well so once I see that color in there it starts to change things for me a little bit I start to notice things that are you know kind of interesting and I can also start to renegotiate my composition and the shape of this rock I feel like I can get this push this orange to go a little bit further out and then push this shape out a little further as well I'm also going to increase the Sienna in the red so that way it kind of relates to the shadow color like this is very orange and then the shadow should also be very rich and very warm as well but then as it transitions away and goes towards the crashing wave I can start to cool it down and neutralize it and use some of that de l'eau turquoise so some of the colors I'm using here also have a little bit more not just warmth but it's kind of a bit of a brown it's got a little more color in it as well Richie knit up the shadows so the shadow side relates to that intensity of that orange it doesn't make any sense if the highlight of that orange is super intense and then it drops into a shadow that has none of that localized color in it at all so what I'm trying to do is pronunciate this color by how it relates to itself in the shadow and I can do that in different ways I can also put some green with that orange and with that sienna and it'll really bump just how warm and how rich it is in the front because I'm playing with the idea that the rock is very very warm and that green that I just added the olive green with the orange really really warms up that rock quite a bit the other thing to consider is that we're painting from a photograph and because we're doing that you're gonna lose a lot of the color that was inherently there in the shadows of this painting so that's what's so critical about painting on location is being able to retain true high key color so right now I'm playing with a lot of orange and greens or a lot of orange and Salo turquoise together just to kind of richen up a lot of the rock and its shadow colors and it warms up the entire rock and that's one way for me to start warming up within the shadows because I had so much neutral color in there and then if I want to I can neutralize it with magenta and a little bit of ultramarine blue and in certain areas I want to keep it kind of neutral but warm as well it looks white oh yeah look at that you guys can see it up there though right [Laughter] iid lose my writing sometimes it's okay yes so I'm using wet paper towels you can use a sponge as well and I put the paint directly onto that the reason I like paper towel is that it's very dense it's very tightly woven so when you wet it you have less of occurence of the paint to actually bleed into that so if you get a sponge like let's say just a sponge that you would use to clean your your dishes with and one up and you'll see a lot of the holes in there it's very porous that kind of sponge is definitely not the kind of sponge you want to use because what that's going to do is just soak in all the paint when it's wet so if you get a tighter tighter sponge that's really dense and you can saturate it even more the pink will sit on top of that without really having minimal bleed into the sponge set but the paper towels are like that it's very tightly woven so it can hold the paint without it bleeding too much over here this is a dry paper towel and sometimes if I want the paint off faster I'll use the wet paper towel and it'll clean it quicker with the water okay so I spent a lot of time there I also need to start modeling in some of the shadows in different areas it spend too much time on that rock so I want to get in and start putting in Cache shadows and the white foam and I'll do that using ultramarine blue white and maybe a little bit of CAD red and magenta let's see what that gets I use a couple different brands primarily Windsor Newton and then I also like to use whole blank as well I don't use the whole buying acrylic wash it's a little – it builds up to more of a plastic finish which I don't tend to like in my bangs it's more of a plastic finish yeah shiny finish with that with the acrylic so it's basically just acrylic you know they have a little bit more of a polar and it's a polymer so it doesn't reactivate and I think that's why they do it as people tend to like the fact that acrylic doesn't reactivate with water and they like that but they don't like the plastic quality that that acrylic has so they tend to get an acrylic wash which is still has a matte finish to it but I still see the shine in there and it still changes the contrast a little bit so there is a little bit of I still feel like there is a little bit of a plastic finish not as much as regular acrylic but it's in there acrylic wash I think Holbein is the only one that makes the acrylic brush white I think they're the only ones who have it I've heard about that I haven't used it yet have you used it and what does he use it primarily for when he's painting and what is the casing do for him it sounds nice yeah I should give it a try on the palette you mean not too careful it's it's pretty analogous for the most part kind of transitions semi analogous in and but I have a tendency I mean everybody should be a bit personalized as to how they lay out their palettes a lot of people like to lay out warm and cool versions of their colors I do a little bit of that with my yellows and then from there I just kind of go but it tends to kind of go in warm and cools but you'll see I usually have mostly all my earth tones in the palette and then the only thing that's not really earth tone are are my blues and the violets if you're just starting out you would definitely want to reduce your palate to a smaller like like a limited earth-like palate the more colors you have when you're learning the less mixing you're going to do but you also want to make sure to put out the right colors in a palette so you want to make sure that you're setting yourself up for the right kind of learning I used to when I taught years ago I used to do have students work on like a CMYK like pellet which was you know kind of your primaries your your C Y K you know magenta cyan yellow and then black and white but the problem with that like I was telling my class earlier today as students weren't mixing in that palette enough they were kind of taking it for granted that when they had blue sky they just mixed blue and when they had like green they would mix just blue and green everything was too simple they weren't mixing those three colors that isn't to say that you can't use that palette but as a beginner you're not going to mix enough so it's good to have a palette that forces you to to use more mixed colors so that's why I recommend a palette for a beginner to be to have to be comprised of a lot of earth tones okay I want to go back into this whitewater here and I do like that this has got a little bit more of the the pink cast on top of it so I'm going to start working back into defining those areas just a little bit more want to make sure the ocean color I have I have an ocean color that's it's a little warmer than what's going on here because I put a little bit more undertone to it and I painted to that I don't know if I don't think I mind that because I don't think I want it to be quite as graphic I don't want it to be such a graphic hard blue I want this to be the stronger color up here for me so let's work back into the transitioning of the sand over here and try to figure that out thank you it's nice to have that little purple in there because it's gonna help me set off the forward-facing plains of the wash because I want to get a little bit of dimino I want to get a little bit of dimension on that white water as well so I got that front facing plane over here and this top plane because it has some violet in it it's mixing some of the blue through the sky that's mixing through some of the warm of the Sun together that'll make kind of that gray violet color warm grey violet then I want to come back to that frontward facing plane of the the water that's crashing and I want to get that nice warm front word facing highlight on that might people to just leave that right there so on the front we're faces of these foam shapes here there's a little bit of white it's I got a slight tint of spectrum yellow in there keep it warm to kind of push against that that violet that's in there so it feels like this is 90 degrees to the Sun so it's picking up the direct color of the Sun and there's a couple of chunks of forward-facing planes of water in here be careful not to get too much yellow keep it pretty white want to keep it graphic I want to make sure that I'm not going to – particularly with it then I want to get a transition shadow in here like a 3/4 on the fringe of this IV that's sitting on top of the rock the IV starts to turn and it's sitting on a thin layer of dirt and decomposing vegetation that goes really really dark under there and really gray so I want to pick up on that you can use some violet and a little bit of green see I could do with that just gives it a little lip and a lift and a separation you can see as I kept putting keeping this color down again when it's wet it's really dark so at some point you just have to kind of settle for the Heike the fact that it's not going to go as dark as it would look you know in the painting but you would create that illusion of contrast by overcompensating and going hierarchy with your shadows anyway I may also simplify the read going on up here I think this is where I wants to go and I think over here it started to get maybe overly modeled for me so I'm gonna renegotiate that again and try to loosen up on that edge just a little bit so this is less particulars Jack it loosens up the chokehold that the I had on the fact that things were way too particularly there and kind of create more of an abstract realism the fact that you feel like there's enough convincing detail going on in there through the use of abstractions that your eyes will maybe focus on the found details over here so I may be able to also push a little bit more color dip up in the waves in the water up here I'm saving the splash of the waves for the very very last part of the painting so I'm gonna go in and think about how much bluer that might be able to go and you haven't seen me use a round brush yet because most of what I'm doing unless I used to for the layin but most of this I put all the I do all the painting with mostly the one inch brush and then some of it is the half inch brush and then the towards the end I'll come in and do a few finishing strokes with the round brush and the round brush is helpful for certain things like maybe coming back in and finessing a couple of smaller details like up here in the the IV and kind of work back in and hit some little accents that I've been wanting the head like some reds and try to keep it very broken I know I wanted to get some of those minty grey greens up there and I can do that by using magenta and olive green and white and hit a few of these little accents of color they are yes I don't the varnish and we talked about this a couple times today with the class that and it's become a controversial issue because I have a lot of you know people asking and buyers asking you know how do you fix your paintings how do you keep them you know from tarnishing or from reactivating or any of those things and if you put any varnish over it it changes the contrasts and the colors a little bit you can spray varnish it it'll do that and you know I've experimented with different things I've had a lot of other painters and friends who've weighed in on it and they've tried different things as well in there and like wax and other things but it's still you know something's change it more than others but in the end it just says it doesn't work now no matter what you do it'll always do a little bit of something and even if you don't frame it it'll take longer but over time it'll also do something it'll also kind of change because it's exposed to the air and to the elements it's not sealed so kind of no matter what you do it can have an effect on it but something like this won't change until way way way way further down the line you know 100 years or something like that they I recommend that when you get these you put glass over them I tend not to show them with glass because I paint them like they're an oil paint and I like to put an oil painting frame around my artwork and if we do that that with a piece of glass over it just kind of ruins the look of it I feel like you know it just kind of adds a little shine and Sheen over it that I don't find desirable but it is advisable that you do put it behind glass to sustain it and like I said I've yet to come across a method that is archival and doesn't change the appearance of it I haven't seen it yet that's it it depends on what you want like you can use a den glass you could use a non glare glass you can use mozi 'm quality glass because it you know it's a gouache and it's kind of like a pastel in the sense that it's kind of chalky I would imagine over the course of the few hundred years if you had regular glass that has a static charge to it it could over many many many years possibly start to lift some of the pigment they've done that before with pastels where if you put it behind regular glass even if you have it spaced over 20 years or something you take that glass off there'll be a ghost of the image on there because the glass wants to pool has a static charge it wants to pull some of that away it wouldn't be quite as much with the gouache but you got to expect that there could be that kind of a quality as well so I think if you're going for optimal museum quality and you're looking for archival you know you want to make sure that you've got some sort of backing and and you want lining in there that's acid-free against the phone or the frame you're gonna put it into any matting you put around it should be acid-free and acid core the glass should be museum quality dentin denne glass is the best because it's like a non reflective glass that to me would be the best because then it doesn't look as if you have any glass on there then I would be okay with maybe putting glass on that because it protects it and you get the den glass the non-glare glass but it's very very very expensive but it's worth it you know possibly even more yeah I'm sorry what was that I think it's just dead D yen I'm sorry I feel like it is an aspect of museum glass I think museum unless I'm wrong correct me if I'm wrong but I think museum glass falls under things like den glass non-static glass non-glare glass right den glass yeah yeah yes yeah any museum glass will have a UV protectant on it because it's museum quality which is the highest archival and the best reviewing and it but yeah I mean for me that would be the only way I would would for me if I had to put it behind glass I would put the the den glass on those so that way it does it look like there's any glass at all cuz it just wouldn't look right to have an oil painting frame with glass on it if you could see that it just doesn't look right you should yeah you should a little bit for sure yeah it's always gonna be nicer it'll create a little bit of shadowing but that's okay all right so let's finish this thing to play what what is our time what do we got 8:05 all right coming to the end of this thing I just want to finesse a few you know this is that stage of the painting when I start to renegotiate little things here and there punch back and forth here and there a rich was that trick of the tail you were playing a little earlier wow it's been since I was a kid Genesis yeah you want that splash like hurry up gonna happen I promise it's gonna happen absolutely absolutely I mean that's what it's all about that's how you learn to do this it's I learned to do all of this from you know painting from life I wouldn't be able to do this if I didn't go out pay me for life too much well it can't stop so this is at that point of the painting where I'm going the slowest that I'll ever go because I'm finessing those final final things in the pain outside oh trying to capture the moment you mean well that's when you study it as you're painting and then if you're used to doing faster quicker looser studies you learn to pick up the gesture of the action that you see there as opposed to trying to say how do I capture the literal sense of that wave again it also helps to do a lot more sketching than painting to kind of figure out how those things work you do a lot of sketches of and studying the waves and sometimes it helps to just sit there all day and watch the waves and then of course look at the way the Masters have painted like people like Edgar Paine were very structural to how the waves looked he gave it a lot of basic geometry where there was always fronts and sides like they were built out of carved out of wood the way the waves were crashing and he was breaking them up he always said there was a there's a side plane 3/4 plane a front plane then there's other painters who don't they just kind of do soft you know fuzzy blurry edgy kind of stuff and you don't feel the weight of the water and the the structure of it so that's why it's really nice to study those paintings that pick that capture the essence of the structure and the planes of those of the foam that there's a top and a side and everything else to them simplify them into structures and it looks really good then when you do that and you're studying and then you know that you have to see something crash-up you do have to kind of remember that in your brain that you're gonna capture a crashing wave but to keep it structural not just misty when everything's too misty a giant wave crashed up is and it just turns into mist you've you've lost the essence of the body when it breaks and it starts to come up into the arrant and then fractures into pieces and end combinations of small medium and large hard edges soft edges all those things to get a really good convincing looking wave otherwise it just won't have weight to it the the water will feel weightless you know though some of my most there's one painting that Edgar Payne did of a swell of a wave and it's just one simple giant swell and you can see the turquoise in the foreground or the water looking through it and it's just one single swell but it feels massive it feels heavy like the whole plane of like you know thousands and thousands of gallons of water millions of gallons of water is just doing one single shift and it looks so convincing you know then you see them do those like ritual is that his name you know captures that as well just heavy heavy swell there's all kinds of really really great painters that that capture that then it's also a good idea to flip these things upside down and because your mind gets stuck in the same structure it gets used to that it loses its freshness so I like to flip things up day down or if you have a mirror in your gallery then you turn around you look at that mirror and see it flip the other direction a great way to study these things when I'm at home I also will take a picture and I have my computer like this I'll take a picture and then I will flip the composition of my painting to see it fresh for the first time and I can identify the balance of colors and the composition and lighting and everything to see if I need to do any of the rejecting and then the other thing it does is you just kind of leave it that way for a while I might go and have dinner or something then come back and then flip it right back again to see it fresh for the first time to see how I feel about it or you just walk away from the painting for about a couple of days and then come back and see it fresh again that's the problem with you know when you're untrained and you're first learning to do this as you stare at something too long it will you will eventually at some point lose the freshness of what it is you're looking at okay let me do this cache shadow then we'll do the splash of the wave and call it well which recta that's privileged studio information right there all right that's why I get the toothbrush there we go sometimes the toothbrush won't work so let's see it's a little tricky first what I do is I got to test it on the back and see if I get it or I can just test it right on to the gray over here and so I can see it yeah that's actually a really great way to describe it really really tricky kind of make or break stuff here we got to let that dry because what it dries it's gonna go a little bit darker too as well but now once I got it there I can do a little bit of a finer mist of that and know what size is that the toothbrush this is six by nine yeah yeah all right I'm gonna call it they're done thank you thank you for your patience yes thanks for joining us for the live stream thank you view this over and over again by subscribing to our channel thank you very much from Carmel visual arts house of 8 media was our production crew thank you very much for everything see you later


3 Replies to “Mike Hernandez Gouache Demo at Carmel Visual Arts”

  1. Artur Sixpence says:

    This is wonderful to watch, thanks so much for posting. I came across Mike's work recently and it's fantastic to get an insight into his process.

  2. Acrylic Painting Tutorial : Art Taiga says:

    This is nice

  3. Volker Paffenholz says:

    If you see Mike working at the easle, you know which long way you have to go.And that you still have to learn so much.Congrats

Leave a Comment

Your email address will not be published. Required fields are marked *