ee NT tt Seascapes & Landscapes eee SSS by Vernon KerrSeascapes & Landscapes Previously titled Sea & Landscapes in_Oil by Vernon Kerr What you'll learn from this book. ‘+ A step-by-step process for rendering seascapes and landscapes in oil, from simple sketches to elaborate scenery © What materials you will need, and how to take advantage of premixed paints and turpentine washes + Tips for using color effectively, with specific color combinations and a variety of palette spectrums + Techniques for creating dramatic skies, luminous waves, and ‘verdent landscapes * Hints on composition, perspective, texture, and contrast About Walter Foster Walter Foster was born in Woodland Park, Colorado, in 1891. In his younger years, he worked as.a sign painter and a hog salesman. He also performed in a singing and drawing vaudeville act. Walter invented the first postage stamp vending machine and drew political caricatures for several large newspapers. He's well known as an accomplished artist, art instructor, and art collector. In the 1920s, while running his own advertising agency, Walter began writing self-help art instruction books. The books were first produced in his home in Laguna Beach, California. He wrote, illustrated, printed, bound, packaged, shipped, and distributed them himself, In the 1960s, as the product line grew, he moved the operation to a commercial facility, which allowed him to: expand the company and achieve worldwide distribution. ‘Walter Foster was a truly dominant force in the development of art instruction books that make it possible for many people to improve their art skills easily and economically. He personally selected maity of the artists, such as Vernon Kerr, who authored his books. Walter's goal was to present unique instruction styles and offer students a well-rounded education in art. Walter passed away in 1981. He is fondly remembered for his warmth, dedication, and unique instruction books. Spear cts oem obec ae oe toe pear es Rag he ISBN 0-929261-68-2Don't sorub in colors, Let undercolor show through in spots. FANTASY MOUNTAIN. Here you can see the value of using premixes in the final stages. Observe the optical ilusion achieved by placing a warm tone next fo @ cool tone of the same value, The mountain is painted Wet into wet for sublle blending, but the bushes may be finished affer the mountain is dry. To paint inlo dry picture, apply a mixture of half turp and half linseed oll over tne entire canvas, and then wipe it off. Thin limbs in the shy area look more convincing it they are soft blue-gray, not brown‘of blue, but have kept the painting in clo the use of blue would have achieved. harmony the MENDOCINO MELODY. Backlit subjects are sometimes dificult, because we paint the subjects too ark. The darks are not black, but very coloriul. Notice the halo-effect that occurs around a tree at sunset. Working from a photograph can often be deceptive, Decause the values that a camera picks up are wrong. Tha camera sees contrast, bul the human eye sees hall-iones. Look for the grays (the use of complementary colors) and vary these tones. The better the grays, the more inteligent the artist There is no blue in this shy. By adding Chrome Oxide Green on top of the gold, | have achieved the ILLUSION5 you add more colors to the painting, try to establish the gesture of the wind-swept trees. On an ‘overcast day, the colors will be muted and close in value. To create contrast, lay a premixed Yellow (Ochre nex toa premixed green. This creates a vibrancy without losing the overcast quality oj the day.aa : WIND SONG. This grove of cypress trees is on the bluff in front of my house. They have such dignity tnd character tha | chowe f'sha than wih your Ths paring was gore’ ona textured canvas to actvove 2 more natural earihy teeling. Note that the strokes are Kepl loose and the edges soft, which adds to the \wind-blown feeling that is felt at tne edge of a biutta. e THE STORM KING. Note thet the strength of this painting is achieved by the extreme contrasts of ccomplemertary colors, darks and lights and soft and hard edges. These are the tools cf the arist to give the pant- ings VITALITY. Be sure to establish darks first in the uncerpainting. Use premixes for the sky, {ar cliffs, and rock at top lef, Paint the dark waler, but let tha Undafoolot show through. For the foam use the pastel pprembxes and roll the paint on thickly, but don't blend totaly—this wil Keep the lights iuminaus and beautiful Carefuly paint the shadowed part of the wave. Buld up tha racks gradually, using very ltie opaqua colcr, Instead Use ricn ploment, than latar ad the premix colors. The cracks of the rocks are rch and warm,Value Scale Rive | : | | Make a Vate Seale anc keep it | ear your canvas. Puta Valle . | | Guide on your ouidoor easel The #5 Value is a key to traditional painting and is i @ : : Value Guide for Outdoors SF or @ bright color effect, | selected several yellows; a more limited palette would subdue the colors, Note TF that one KEY COLOR is Mars Violet, which is super for eattn tones. | use it for atmosphere tones, rocks, fear, and the underparts of brush or trees. The other key colors are Cobak Blue and Yellow Oonre. Notes the “ed: Yelow-blue combination. | often use Naples Yellow instead of white to lighten color combinations, Because itis Spaqve and saves mixing time. ve discovered that the rich Carks for closeup nes can be made fern Orange and Pruseian Blue. Of course, ade other colors when necessary. 10with the light skipping across the irees, grass, and rocks. | used a smooth canvas. With bristle brushes, underpaint the general parts fist. With a kn sky, then Build up the textures of the rocks. Pull the background together to soften the edges. Paint the siyholes in the trees darker in value than the sky, or you will have litle dots staring at you, When the painting is dy. you Can add the final details, such as the yellow leaves and grasses,12 CITRON SUNSET. when Blue cn cause the yalows Tobe dl. tend wo can ge he ILLUSION of Bue, The imt_ Umber oe Whits appears, to be lavender, and Paynes ot aie alors ide iting to create Sea Noon oapvap alling Me ea painting a yellow-gold sunset, we can omit the use ‘alled color optics, plus White looks blue, In this tal color effects from the under-ANCHOR BAY. Up to this point | haven't mentioned perspective. Walter Foster has a fine book on the Subject. Locate the vanishing points! Make a careful drawing, or a black-and-white painting irst. Establish your color and value relationships by first spotting in the darkest darks and the lightest lights. Cover the largest areas. Paint the middle area (the water and rocks), then the sky, and leave the beach until last. A tip about painting sand: Mix all the fettover colors of your palette spectrum together and use it in your sand color This tie together all the colors in the painting. 13LAPINE, SNOW. ‘These are two 12x16 sketches done on location in LLapine, Central (Oregon. | tied to vary tho ‘composition, ‘especially in the bushes, ‘and to show that the ground dogs not have tobe completely ‘covered with Ssn0M to be arto Dorit you agree that the red bushes make ‘an intriguing | ccontrest?SNOW STUDIES. | cannot stress too much the impor- tance of making studies, all kinds of studies. My studio shelves are lined wih al sketches of different subjects in both mono- fone and color. The bark ofa tree, for instance, isa fascinating balance of textures and coors. Note the warm lights on the sunny side, and the cool reflected lights on the shady side of the trunk. When snow piles against a tree trunk, it sends fingers up the grooves of the trunk, and it spreads out at the ‘base fo blend with the snow on the ground, ‘Snow colors do not have to be white with blue shadows! Glowing snow has all colors in it. Notice the shades of yolow, ‘and lavender, and pink, and green. Don't forget to add the reflected lights. n the stream picture, notice the ight the snow picks up from the water beneath i, 1516 SPECTRUM SKIES. When | fist stated painting as a child, | used to climb on the rooftop to paint skies. Skies are Important: they often make up Ys of a painting. | feel that if you can paint good skis, it forces you to paint the other ‘elements just as well. These sketches show that skies can be created from almost any color to achisva different effects. Try to memorize cloud formations, end know the various clouds for various conditions. Collect ahotos for reterence 3. Cadmium Yellow Pale, Cadmium Red, Vir Cobalt Blue, Green, Experiment with cifrent shades of blue; I've found that Cobalt Blue makes a good etieznoon sky color. Theo: retically, you can aint any picture witn a basic red, yel- low, and blue, BUT | use pre-ubed color (such as Naples: Yellow or Gadmium Orange) to create clean colar and to ‘save mixing, 4. Cadmium Yellow Pale, Gacmium Red, Utramarine Blue, Faw Umber. 4. Cadmium Yellow Pale, Yeleow Ochre, Alizarin Crimson, Cobalt Blue. 6. Cadmium Yellow Pale, Cadmium Red, Cobalt Blue, Paynes Gray. 2. Cadmium Yellow Pale, Alizarin Crimson, Burnt Sienna, Prussian Blue.8. Cadmium Yellow Pale, Cadmium Oran Faw Umber, Paynes Grey. 5. Alizarin Crimson, 6 Cadmium Yellow Pele, Alizarin Crimson, Viridian Green, = Paynes Grey. Cadmium Yellow Pale, Cadmium Orange, Cadmium Fred, Alizarin Crimson, “Cobalt Blue. 7. Cadmium Yellow Pale, Cadmium Red, Yellow Ochre, Cobalt Blue, Paynes Grey. 41. Cadmium Yellow Pale, Cadmium Orange, Cadmium ied, Alzarin Crimson, Viridian Green, Cobalt Bue, 8. Cadmium Yellow Pale, Cacmium Yellow Deep, Cadmium Orange, Alzarin Crmson, Viridian Green, Cobait Blue. wv18. x, Yaw ae ‘za Cao ein Gren ‘amare sae Paynes Grey x Yatow "low Oe xd ie pt ‘Atzne cmon cabal sue unt Unter (at, Yalow Fae Yalow Oto x, me et Wiiaan Grace Cates te oo WAVE STUDIES. Variety is essential in becoming a good seascape artist. Study waves from different posi tions. Understand the force that creates a wave, Watch the waka pattorne in tho foam and form of the water alter the wave passes, The curl of a wave is usually shaped ike a tuba, but it can often be met by an angular Swell as in the bottom picture. Nolice ‘hat the force of tne wave crests Chunks of foam ae it Fits; to mako these ‘chunks too soft-ooking would weaken the strength of the wave, Never use pure white in painting foam, as that makes it look like cotton, Rely instead on the premixed shades of paint to achieve tonal contract (warm against coo)ROCK STUDIES. There is about as much difference in rock shapes and colors as there is In wave for. ‘mations. Understand the kind of rock you are trying to portray. 's it rounded, stratified, biocky, or pitted like lava? Ig it reddish, brown, ray, black, blue? Is it wel? Song paintings need angular rocks to portray thelr strenath. To harmonize a rock with iis surroundings, vary the color by intensity and grays, and bring some of the back: {ground color into the rock. In sill water, carry the rock color Into the reflections to make the rack "sit down.” Sometimes | change a rock shape in my'psinting to create a better design, bul | try not to lose the character of the rock ise Cad. Yalow Pao ‘tz Cleon en Geen ieenarin Bie yous Gry (x, Yalow Pale ‘Yalow cone ad, Rd Ugh tzu Ce um Umber xt Yotow Plo ‘ow cere Cad, fie at Win Geen canden ee cat ee 19Keep the colors under the grasses rich and clean. Use a fan blender to create Lup-swept strokes, Here the key colors are Mars Violet and Cadmium Orange. The shadow areas ‘The intense warm colors inside the shadow areas will create Ife in a seemingly Inside the dunes are the crilical areas in this painting. ‘colorless picture. This applies fo desert painting as wel.‘SEA DUNES. Valies on a suniit day are deceiving. A warm color seems to be lighter than a cool color of the same value. When two values of different ‘colors appear to be the same, merge them together to make them less poster- like. Hold a long bristle brush parallel to the canvas and softy merge the colors. Use a large brush; a small ono would create the look of fussiness. The mood of tranquilly created in the foreground of this painting was more important to me than a breaking wave. The grasses are swaying in tho wind. The driftwood is halt-buried in the sand (notice the soft edges). The Blants send runners in a rhythmic pattem across the dunes. Seaguls drift in the breeze. Smell the salt air? Feel the sun.on your back? Now you'e gettingit!we Painting ACROSS THE FORM of the fallen limb has many advantages: It ‘makes the limb solid and gives it perspective and foreshortering, It also adds more texture to the bark. To achieve roundness (or a wrap-around, ‘qualty), make the edges soft and add reflected lights.AUTUMN LULLABY. Fallen leaves are especialy intriguing, bu hatd to paint. The idea is to make them a each one. | used a textured canvas. Fir Madaer Aliz bristle brush. sppear to be many, wash in an eart and in- clude mauve tones and grays. The tres! ‘Burnt Sienna. Build up the leaf texture aves on top have richer colors. In the foreground, make the strokes crisper and blurt @ using a round Do not overblend or you will get de Aci ves "lay dow away. to make the4 = i F z 3 3 er ei Dei @@: OO: | } "Mix large palette spectrums fist. The spectrum on the left carries sky and water "Glaze the undertone with the glazing medium. Let this tone ary into your Colors, and the right one is rocks and sand, final painting, especilly in the rocks. Suis To portray water movernent on a shiny beach, cut across the vertical strokes. ‘Try not to blend. Do not lose the vertical stokes, slightly with a large soft blender. Add details when dry Reflections are achieved with vertical strokes of color where the beach is wetAWAKENING SUNSET. From my cining-room window | can watch the To glve the sun's relection, build up thick dimensional paint in the areas where brillant sunsets over the Pacific. 'm fascinated by the multitude of color scher: the sunghine would seem to hit. Lot ‘strokes. dr, and scumble over ‘thatthe casual visitor might never see. Notice how I've carried the same colors ‘them with a lighter value, but not write. Thereafter, ight cast upon the painting from the sky through the sand. The lavenders and yeliows balance each other. _will refact from the surface ofthe strokes and ad to the sunshiny effect.Cad. Yellow Pale, Cad. Orange, Alizarin Crimson, Phihalo Yellow-Green, Viridian Green, Cobalt Blue, Yellow Ochre, Burnt Sienna, Raw Umber Contrast of WARM against COOL gives the illusion of more values, Control values by relying on premixes and the palette spectrum, Its not important to match my colors exacly, so long as your colors harmonize with each other and create a good tone, Mic lots of grays. This does not mean using blacks-and.whites! If color is too intense, blend it with a complementary calor4 THE CITADELS. Fog to me is mystical and mysterious. The colors are sub- One can see the actual color of the water itself when the sun is hidden. There tle and beauiful. The mistake often made In painting fog Is to make it too are no slrong colors or values inthis painting. If yours become too intense, tone washed aut. The overall velue for this picture is #5, with all other values between the intensily when the painting is cry by glazing a complementary color on #4 and #6, except for the dark rocks. the surface. Wipe off the excess until the desired fone is accomplished.“Tone with vamish-urp-ol mxdure. Be accurate in tone. If underpainting is too light or too dark, the overpanting wont look right. Te grass in this pairing is simple color pattem with few details. The dai Ihe lavends 8, complementary to ochre, aro not only pleasing, but the ate patches of tone in distance, wah details up close combination supplies one of the GRAYS provalent in natureWALKING THROUGH SUMMER. | couldnt rs ng these old The interior darks of the bam are thin, rich, and warm in color. Do not paint apple trees and barn, cast ‘week. Once the darks opaque. You want to be able to iook into the shadows. Rembrandt in a while | see a deer pe Was a master ofthis technique.= Fy < = 5 g 2 a a > aDESERT SPRING . . . counesy o Heddots Fine Art nc, Anaheim, Cal,offering» ar les even ation Vibes regan fom RENE “ese books ke fondamenrals of ak ie ad ec jes books of pie Watercolor geoning new IES, raed © subject. pouivates es these fiVe pant series nel cys one ese nat. Lavish es both Jourage a8 so folio f sare, ths = + Laguna Hills Walter Foster publishing 196° 73062 Le Cadena Driv eon rovmr cin ann oeADVENTURE PAKS je rie ow) ce02 Sepemnn “AKI Aarne Ack {Bor bed oman ae Sime Farce 19.95) tts Bama to TAR. Pati Fact Pack (519.95) DISNEY's CLASIC CHARACTERS (95 ea) TaXt Nite Wnehingfactak i995) "Deal swe Daw fs y ARIST AR sees 6035 Bt: How or Te ie Mes (Bet How oO esa Bes et. How a Daw Al BERR Dry Sve he DCO? How te Draw Preabonas ‘eos Hei Bi he ment cu. How Dee Hercules Ep eter f aisaers bouer@iessca) 116 tlt nth Mie di (OGTR Bones Dust Date Dek tg cisutvs ABN FO DEAN sen i Bor ly a ANB cle § eb Maat Baas. Weal dar Waar Powel DISAEV's WE YOUR OWN PUNCH. OUT ‘zo etn &Watwcle—Oure GRAFTS San toe ‘AG tg tonsa ring ok Seen ‘ALS. Ot Pang chr —Woa DISNEY SNAP PACKS (512.95 ca) nate Biass ey ISP Mickey ard ‘M24 Moe Rendoie—fad arson Bsa Ws te Pc ‘N35 Choa Drwing—ten Goldman DEAW ALONG WF STUART UTE AYE Ree Paring Dit oman BE a ‘ALP. 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Chat YOU CAN Gedw COURCTIONS T2338) TEER eRe snr Yor TED to Cor Ban Rese ‘os CAS Daa seme .95 2 XCDBEN- You Ca Draw sn Chace COE nce iat Coz fet Air EOD} Ones ACDe. the Motrins REDE. Mca soot ed ar at opt and no ioge oasis ot eile’ ‘Mail-Order information (vist wwrw.walterfoster.com) {you cannot find Walter Foster products at your local an, crf, oF book store, you can order them diretly from Walter Foster Publishing. Please send a list of products desired (by numben, along with a check or money order (US. funds only to: WALTER FOSTER Publishing, Inc. 723062 La Cadena Drive Laguna lls, California 92653 Calton sider ad 775% se tn, Pes lo oro x weeks ode Pcs ec ay 1,200, ae ape to change hus nts ‘Telephone Orders To change to your Vis or MasterCard, call (800) 426-0099 or (949) 380-7510. Please have your card number and expiration date ready. {510.60 minima for ret card orders} Sony, no COD. 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