David Rankin Watercolor Workshop
Trees in Watercolor
Euclid Art Association
Saturday - April 28, 2018

 

David Rankin
Class References


Painting Trees Handout
 

 

We spent a fun Saturday, learning to paint “Trees in Watercolor” with artist, David Rankin.  We thank David for another fantastic workshop...it was a full class!  David's goal was for us to become better tree painters!  The class objective was not to complete a painting, but to learn techniques that would allow us to sketch any tree in nature, as well as learn key tips on how to paint them, such as the use of merged brushwork in order for the trunk, limbs and foliage to merge into one shape.

David talked about his favorite art books that influenced him from the age of 16.  By studying and totally understanding Ted Kautzky’s techniques in his books, "Ways with Watercolor", and "Painting Trees and Landscapes", David won three art scholarships.  To quote David, “This guy, Kautzky, was a freakin genius!”  “Today, young artists have no idea who he is,” he quipped.

David showed several examples of sketchbook art where he used the techniques we'd be learning in class.

Using a picture of a River Birch in a snow drift as reference (third image above), David showed us how to approach sketching the tree, and reminded us that this method works for any tree.  “Draw shapes”, he said, "watch the background, simplify it, eliminate details and capture essentials".   Start by drawing most trees from the bottom up.  Placement is important, where you place the trunk in the ground.  Sketch the strongest branches first, using the stop and go method (without lifting your pen/pencil from the paper, draw a bit of the line, then stop and look at your subject to see where to go, then continue drawing).  You can add an abstraction of little branches later.  Key points that David emphasized; "Draw what you see, draw it in pieces, and don’t lift your pen off the paper while sketching the image."  Also, he recommended we keep our studies small, 5 x 7 inches is a good size.  “If you can’t paint a small study that you like, you are not ready to do a large one.”  FYI...David sometimes uses a ballpoint pen to draw for his sketches because it forces him to focus on the composition and shapes, since he can't erase and try again.  Not that David would ever need to erase - he makes it look so simple!
 

David finishes background layer EAA president Lee Peters - transforms class photo into art David gives personal pointers to class members

 

Initial pencil drawing Laying in background color Working on branches Tree branches done, now add details, snow

 

Students observe David's technique David displays work in progress David's trees, nearly done David's final version...

After a break for class members to do their own tree sketches, David demonstrated adding paint to the sketch.  “Putting paint on the paper in the right sequence determines success”, he said.  Starting at the top and moving down, working from left to right (unless you are left handed), David added a background wash of Payne’s Gray, watered down midway through.  After drying the initial work, he painted branches (Burnt Sienna & Payne’s Gray) using merged brushwork, working quickly from the top down, occasionally using a rigger brush to merge the larger branches into smaller branches as you go.  It is important to elevate the top of your pad or sketchbook 3 inches, creating 3 inches of gravity that allows a bead of paint to form, which helps keep the paint from drying out as you move the bead down the page and paint one area after another.
 


Time seemed to move quickly.....before we knew it, it was lunch time.  Here are a few of the student tree paintings...
each student adds their own experience and artistic vision to the painting


After lunch, we created a small, simple winter scene with trees in deep snow beside a stream.  David introduced several new techniques.  Using a lighter value of Payne’s Gray and merged brushwork, he painted an illusion of a stand or block of trees all across the background.  As he moved from background to foreground, he made the trees larger and a little darker, still using merged brushwork. The contrast of the darker trees to the lighter trees created an amazing illusion of depth.  Then he painted the major foreground trees, distinguished with lovely bark and lighting, making them look rounded and beautiful.

 

David showed us how it was done, in just two steps. For the bark, he painted down the center of each trunk using the shoulder stroke (either edge of the brush, with the brush held nearly horizontal to the paper), making sure to put enough pigment on the brush to last from top to bottom.  Second, he washed over the whole trunk with a light value of Burnt Sienna on one side of the brush and Hookers Green on the other.  For the finishing touch, he used his rigger, loaded with Burnt Sienna, tilted at a steep angle, to create a narrow broken line down each edge of the trunk.  Magical!  And to again quote David, “It’s stupid simple!”

 

Initial work to establish the background treeline Darkening some trees to bring them forward Adding the stream Finalizing details and color


As we worked on our own sketches and paintings, David spent time with each of us, helping to improve our techniques.   Great class, David!  We look forward to a fall workshop with David on “How to Develop a Sketch Book and Travel Journal”.  He promised to take us on a sketchbook journey to India.  Watch for details on our website, EuclidArt.com.

Here are several of the student paintings from the afternoon session...


 

Also, we give special thanks to Joan, Sandi, Ellen and Jim for the delicious goodies they brought for us to enjoy.