Direk Kingnok

Watercolour-Master uit Thailand


Direk Kingnok
is geboren in het noordoosten van Thailand en groeide op in de stad Nakonratchasima.
Waar Direk woonde was hij omringd door de natuur en dat is goed te zien in zijn werk.

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Als kind was Direk al een kleine artiest, hij blonk uit in tekenen en schilderen en won dan ook vele kunstprijzen in zijn jeugd.
Hij wist dus al jong dat hij schilder wilde worden. Na zijn hoge school opleiding ging hij studeren aan de Khon Kaen universiteit, een academie in schone en beeldende kunst.

tn_Temple of Literature,Hanoi

Op de academie ontdekte Direk de aquareltechniek, hij was op slag verliefd op dit medium en deed er alles voor om deze moeilijke techniek onder de knie te krijgen.
Het kostte hem veel moeite, andere technieken gingen hem zoveel makkelijker af, maar Direk was vastberaden om de schoonheid die aquarel kan bieden te leren..
Vooral de effecten die je met aquarel kunt maken vond Direk het best bij hem passen en wat hij wilde laten zien. De landschappen van Thailand.

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Toen Direk begin 30 was vroegen een paar in Nederland wonende Thaise vrienden of het hem niet leuk leek om een paar weken in Amsterdam te komen werken. Hij had daar wel oren naar. Zo kon hij gelijk Nederland een beetje ontdekken en schilderen. Terwijl hij ook werk deed in de winkel van zijn vrienden.
In zijn vrije tijd ging hij dan vaak op pad met zijn schilder-spullen.
De aquarellen van Amsterdam zijn dus ter plaatse gemaakt in onze hoofdstad, degene die wel eens buiten heeft geschilderd, weet hoe lastig dit is. toch zijn de plekken die hij geschilderd heeft (voor een Amsterdammer) makkelijk te herkennen.

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Direk startte zijn professionele carrière in 2001, vanaf die tijd kon hij zich volledig op zijn kunst richten. Hij hield exposities en kreeg meer bekendheid in Thailand.
Na het maken van een Facebook pagina, werd zijn talent al gauw door de rest van de wereld ontdekt, hij kreeg uitnodigingen om te gaan exposeren in Bangkok en Hanoi, later werd Direk door de International Watercolor Society (IWS) als kunstenaar gevraagd naar Vietnam te komen waar hij samen met een aantal grote namen uit de aquarelwereld demonstraties gaf.

tn_Hang Ma Street,Hanoi 1

Inmiddels op de leeftijd van 39 is hij een graag geziene artiest wereldwijd. En heeft zijn Facebook pagina meer dan 73.000 volgers.

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Materialen
Direk gebruikt vooral de papiersoorten die katoen bevatten zoals Arches en Saunders Waterford 300 grams. Deze papiersoorten staan erom bekend dat ze na het maken van de aquarel, een mooie matte uitstraling geven aan het schilderij, en uitermate geschikt zijn voor de techniek waar Direk zijn aquarellen in maakt. namelijk de nat in nat techniek, deze techniek kan in principe op alle papieren gedaan worden, maar het beste resultaat ontstaat op de 100% cotton based papiersoorten. Ook heeft Direk een bepaalde structuur nodig om op te schilderen omdat hij meestal in de latere fase van het schilderij droge kwast streken aan de aquarel toevoegt. Dus een zekere ruwheid van het papier helpt hem daarbij.
Direk is niet zo merk gebonden wat zijn verf betreft, als het maar van een goede kwaliteit is.
Opmerkelijk is het wel dat hij naast Holbein pigmenten, ook twee Nederlandse merken gebruikt, Rembrandt en Old Holland.

Werkwijze van Direk
Direk begint op droog papier, zijn tekenbord staat hierbij vrij schuin, zo een 35° hij wast vanaf de top van zijn papier met sterk verdunde pigmenten in verschillende tinten naar beneden, waarbij hij de witten zorgvuldig uitspaart die hij wil behouden of niet meteen af wil dekken.
Hij heeft dus al bedacht waar de aandacht heen moet!
Hij begint met bijvoorbeeld Ruwe Siena in de lucht, die hij opwarmt met wat oranje tinten, de groene kleur van de bomen wordt meteen in de reeds natte luchtpartij gezet. Oker-tinten wisselt hij vaak af met paars-tinten en alles loopt nat in nat vloeiend in elkaar over.
Omdat het papier niet wordt nat gemaakt van te voren vereist het wel enige vaardigheid en snelheid van de schilder. Je moet weten wat je gaat doen en hoe de verf zich gedraagt.
In deze fase zet je dus de toon van het schilderij.
Nadat de verf droog is brengt hij een tweede laag aan, ook weer nat in nat, maar nu over een gedeelte van het papier, deze kleuren zijn een krachtiger mengsel. En waar de eerst laag voor de sfeer zorgde is deze tweede laag er een die de structuur in het schilderij brengt.
Bomen en struiken worden langs dakranden en muren geschilderd, en schaduwen krijgen al een plaats op de huizen. en eventuele reflecties waar het water betreft. Hierna worden de details aangebracht, en de donkerste partijen rond het focal point, vaak met een droge kwast techniek.
Tenslotte wordt op sommige plekken de highlights geplaatst met Chinees wit.

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Er bestaan puristen die geen wit willen gebruiken en het bovendien geen aquarel meer vinden, maar deze club bestaat nog niet zo lang. William Turner en John Singer Sargent gebruikte al zwart en wit in hun aquarellen lang voordat deze Pure Watercolour Society werd opgericht. Je zou van te voren met maskervloeistof het zelfde effect kunnen bereiken, ware het niet dat dan een groot deel van de spontaniteit verloren gaat, omdat je dan al rekening moet gaan houden met al die witte puntjes.

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Ikzelf vind meestal dat je na verwijdering van de maskervloeistof een soort onnatuurlijke witte gaten in je aquarel overhoudt, waarvan je de randen dan moet verzachten, en die dan vaak net op een verkeerde plek staan ook. Hoe moeilijk ook, om een plek heen schilderen die je wit wil houden is in mijn ogen nog steeds het mooiste en komt beter over. en mocht je net dat ene lichtpuntje kwijt geraakt zijn, zet hem er dan maar in met Chinees wit!
Net als Direk.

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Edo Hannema

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Take better Photos from your artwork

 

We know how it is, we have just finished our painting and like to make a good picture for your website, Facebook, Twitter, or whatever.
You look outside and it is a cloudy day, not really the right light to make a photo while the colors you carefully painted are so delicate to you.
What can you do? We usually set our camera on automatic, so it takes the most average photo under the circumstances.
But when you do this, its more then likely the colors from your painting are nothing near your photo if the light isn’t good.
The solution is to go look in your camera, if there is a White Balance modus, usually it says “WB”.
On some cameras you have maybe three choices, and on others you have 20 to choose from.
Mine is a old Canon G3 and I have 9 choices on this one, although the last two are the same.

canonG3

I set my camera on the P of program, so the sharpness and light measuring is still handled by the camera itself.

programknob

And on the back of the display I choose the first WB I take a picture with. Automatic White Balance

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My light source is a fluorescent lamp from 55 Watt, almost the same as 275 Watt in normal light.
Its daylight light, and it is 5500 Kelvin. Look between 5000 K and 6500 K if you want a fluorescent lamp.
Under 5000 is is to yellow, over 6500 it is become to blue.
Kelvin explained here.

My fluorescent lamp. The cloth is a diffuser.

daglichtlamp

Final result is this one, its not 100%, but good enough to posed.

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The first picture I take is with the AWB, automatic White Balance. See the red Arrow. I know for sure it is not the right WB, cause it’s the same as the camera on automatic.

automatic white balance

Second photo is with the White Balance on Sunny, also I know the result will be dramatic, cause a fluorescent light is not the sun. Its called a day light lamp. But its really different from the sun. The result is slightly better but no where near perfect. A bit less yellow I would say.

whitebalance sunny

The next photo is with the WB on Cloudy, so when you are outside and there is no sun, this is the modus you make better pictures then on Automatic. But for our indoor situation not good enough! A bit more yellow then the last one. With clouds the overall color outside is bluish. So to compensate the filter is more yellow.

white balance cloudy

Next photo I take I set the WB on light-bulb. This gives a yellow light, the reaction of your camera is to make a sort of blue filter, so that the yellow light will be balanced. I use no light-bulb so the effect is a blue photo! Without knowing how the original looks, this is for a snow-scene not very wrong. Only again no where near the original.

WB Lightbulb

Now we come to the WB fluorescent, that is the right one for my lamp, so I think it is a better choice then the ones before. And indeed the colors are better, the white is whiter. so the WB is better.

WB Fluoriscent

Then we have another fluorescent choice the  Fluorescent High. this choice is for lights with a higher percentage of Kelvin. About 6500K or higher. the fluorescent light gets more blue, so this WB (filter) is slightly more yellow to balance the blue light. The last WB is for me better I know now!

WB Fluorescent High

Why don’t you just use a camera flash? Well, watercolors are very transparent, so the reflection will be high on your photo. You can take a picture on a angle, then you can use a flash. Better use a tripod without flash! Here below with flash. it’s a very pale watercolor now!

flashlight

We have another WB choice, you can let the camera measure your WB and your light source by doing this! The result is somewhere between the two WB choices from fluorescent light in. I use this one a lot! You are always on the right track with this one!

WB white measurement

I decide to use this one, and work on the lights and so on in windows 10 own photo retouching program.  make it a bit lighter and crop the image.
If you don’t have a photo-program you can try www.pixlr.com

retouche

All the photos I took in this tutorial I made with the same light source, just to figure out what is the best way for me to take a photo from my watercolor. I could do this also outside when it is a cloudy day.
If you don’t have a daylight fluorescent lamp like me, try to be as close as you can with the WB. If it is cloudy outside take a picture with the cloud on, or take a WB measurement.
I hope this will help a bit, and I wish you all success to make better photos from your art work.

This is no way near a tutorial for professional photographers, but just for people that want to make a decent photo from the painting they made.

Edo Hannema

Perspective by Carl Purcell

Found on artist and Illustrator’s website

How to Paint from a Different Perspective –

Carl Purcell’s Step-by-Step guide

When it comes to painting, most of us are not using the truly artistic side of our brains. In an exclusive extract from his new book, Carl Purcell introduces a new way of seeing

carl purcell different perspective your artists brain

Your brain processes visual information entering through your eyes in two distinctly different ways: spatially (or visually), and intellectually. The first and faster is the spatial process. Its primary function is to keep you informed about the constantly changing space around you by recording where and how big things are. It perceives shapes and spaces, dark and light patterns, vertical and horizontal orientation, size relationships and the relative locations of shapes.

The spatial part of your brain does not identify these as trees, cars and people; that kind of identification comes later. All of this is done on autopilot, just at the threshold of your consciousness. When you parallel park a car or walk through a crowded mall, you use this spatial tool. Its primary job is to navigate you through space safely.

The analytical or intellectual portion of the brain processes the spatial information not as visual images, but as data. When you identify the shapes you are seeing as trees, cars, people and so on, you are using the intellectual brain. This is the right tool for just about every other conscious activity of your life. But when you use this part of your brain to draw, the results are disastrous. It first translates the visual information it has received from the spatial brain into data, then creates a simplified visual symbol to stand for the information.

carl purcell different perspective your artists brain

Focus on shapes to make a stronger painting
Here is a simple subject made of large shapes. Remember, you can either approach it from an intellectual standpoint – allowing yourself to name the grass, road and so on – or you can use your artist’s brain to focus your attention on the shapes, the colours within those shapes and how their edges convey essential information.

Value Sketch
Reduce the scene in the photo to three basic shapes. Each is interesting and needs little changing. The first shape is formed by the grasses on the left, ending with the buildings. The second shape is formed by the trees at the top of the composition, and the third shape is formed by the grasses on the right hand side. Draw these shapes carefully rather than drawing objects. This allows you to capture the heart of the scene – what gives it visual impact. Place the horizon line higher in the composition to avoid dividing the picture in half. This will mean shortening the height of shape two.

carl purcell different perspective your artists brain

1. Paint the first shape
Load a No.12 round with a juicy mixture of Quinacridone Burnt Orange and Cobalt Violet. With the painting support tilted about 30 degrees, paint the top part of shape one. There should be a bead of colour at the bottom of the painted area; if not, you need to use more water.

Rinse the brush and load it with Quinacridone Sienna. Begin painting along the edge of the bead, allowing the first colour to run down into the new colour. Continue the wash down your paper, recharging the brush with a new mixture of Quinacridone Gold and Manganese Blue.

At the bottom, carry the wash over to the dark shape of the rut in the road. Without a break in the wash, carry it on up this shape until you reach its point. You now have one single shape with varying colours. The top is geometric, revealing the silhouette of a building and fence. At the bottom edge of the darkest part, paint a few strokes of a dark shade to reveal grass.

carl purcell different perspective your artists brain

2. Establish the second shape
Load a one-inch flat with Quinacridone Sienna. Hold it horizontally and drag the colour with the edge of the brush to produce a ragged edge for the tree shape on the left. While that is still wet, load a No.12 round with Quinacridone Burnt Orange and Cobalt Violet and touch this mixture into the base of the shape you just created.

With a one-inch flat loaded with Quinacridone Sienna, begin the larger portion of the tree shape, moving from left to right. Tilting the board to make the left side about 30 degrees higher will allow the paint to puddle in the direction you will be travelling. As you carry the bead along this shape, charge it with some Permanent Rose and Quinacridone Burnt Orange. Then add Cobalt Violet followed by Manganese Blue. Leave some light patches between trunks.

Once you rach the right side of the tree shape, drag the brush along its edge again to produce a ragged edge. This gives the impression of foliage without too much detail. Extend the bottom of the shape until it touches the right side of the paper. Now we have created a single interesting shape that reads as a number of trees, with places where the surrounding space moves into it. The shape also changes colour from very warm on the left to cool on the right.

carl purcell different perspective your artists brain

3. Move on to the third shape
This shape is not as clearly defined in the reference photo, leaving itself open to interpretation. I have chosen to draw it with smaller instructions of white along its left side. The choice is yours, but it must be interesting.

Load a one-inch flat with a mixture of Quinacridone Sienna and Cobalt Violet and begin the shape at the right edge of the paper just below the tree shape. Touch just the tip edge of the brush to your paper and drag it sideways with a somewhat jerky motion to produce a stroke of varied width. About halfway along the base of shape two, merge the wash with the tree shapes so they connect. As you approach the left side of the shape, charge the brush with Quinacridone Gold in addition to the other mix. Carry the bead of colour down to the bottom, changing the colours as you go by introducing Permanent Rose and Cobalt Violet.

Keep the interior of the shape simple. Never go back into a previous stroke; this will muddy it. Break up the edge of the shape in places with strokes indicating grass. If the edges of the shape are carefully treated, you won’t need much more detail. Notice how well you can read the subject at this point even though there are no supporting details. The painting is strong because of its shapes.

carl purcell different perspective your artists brain

4. Add the finishing details
Think of the details as decorations on shapes – little touches that help explain the shape. Add a few calligraphic lines with a No.6 round to describe the tree branches. Add a few more in the opening where the road leads, and place a tree trunk on this side. On the right side, add a tree trunk and limbs. Along the edge of the grass shapes, add a few strokes to indicate grass.

With a No.12 round, paint the shadows across the road using Cobalt Violet and Manganese Blue with a touch of Permanent Rose. Make sure the shadows undulate over the surface of the road, defining the road’s contours. With a pointed No.12 round, paint some shadows at the edge of the snow with Manganese Blue and Permanent Rose.

Add the background sky last. With a two-inch flat and a light mixture of Cobalt Violet and Quinacridone Burnt Orange, quickly paint the background directly above the trees. Dry it immediately with a hairdryer to minimise any bleeding of colour. With a pointed No.8 round and clear water, paint a few grass blades in the interior of the shapes and then lift them out with a paper towel. These details enhance the shapes but don’t alter the structure of the painting.

This is an extract from Your Artist’s Brain by Carl Purcell, published by North Light Books.

Lighthouse IJmuiden

vuurtorentje
This little picture was all I needed for making my last watercolour.
It seems how more information you have, and how sharper the picture is, the more you begin to fiddle to get the so called true on paper.

A large wash was applied in the begin, and I took special care not to touch the lighthouse, I left some white spots on the same height of the lighthouse, to get here my centre of interest! Colours used are French Ultramarine and Burnt Sienna, and a touch of Raw Sienna in the sky.
The green for the lighthouse were, Cobalt Turquoise and Raw Sienna.
Pier Ijmuiden

Try also to paint from this kind of little pictures.
Make a black and white copy, so you can make your own colours.
Cause if you paint from a colourphoto, the change is that you try to get close to the origin colour.
Well that wil never work, there isnt a paintbox with enough colours to copy nature!
So paint from b&w small pictures
That is all you need to make a nice watercolour!
Regards Edo

Weeping Tower Amsterdam

This time a more adventurous approach of a watercolour painting.
I tried to emphasis on the tower itself, but also  tried to make the tower belong in the cityscape.

My first wash is without doing a sketch, it is just mixing beautiful colours in a way that it looks right, Ultramarine Blue, Burnt Sienna and Alizarin Crimson, not the pure colour, but everything is a mix of all. I mean you mix a bit of blue true the sienna and vice versa. Leave some white paper!

Then I sketched the scene after drying, and washed in the main shapes, don’t paint buildings!

With the same colours off course as I used before.

3th phase and last phase is to lighten here and there some parts and add detail.
Its the part that is only 10% of your painting, but the result and impact of it, is the last 90% of the success of your watercolour.
Weeping Tower

History of the Weeping Tower or Schreierstoren

Erected in 1482, Schreierstoren was part of the defensive wall surrounding the city. During Holland’s Golden Age, the 17th and early 18th centuries, most of those fortifications were demolished. This stout brick tower survived because it served as a checkpoint for ships belonging to the Dutch East India Company.

Because Schreierstoren commanded the best view of the ships at port, Amsterdam’s women waved and wept from this point as their men headed out to sea. It came to be known as the Tower of Tears or the Weeping Tower. Today, it’s a shop. Attached to Schreierstoren is a plaque honouring Henry Hudson. From here, in 1609 he set sail in the Half Moon, to find a direct route to the East Indies; he found what would become Nieuw Amsterdam instead. This plaque was placed on Schreierstoren by an organization from my hometown, the Greenwich Village Historical Society.

140LBs Bockingford paper 36×48 cm

 

 

JOHN PALMER

Learning from a master watercolorpainter is always good!
A few years ago I took some workshops from Kees van Aalst, and I learned a lot.
Just by watching and analysing watercolours, he showed me to be different in style, and just using a few colours. He made me aware that the painting is more important then the subject you try to paint!
Kees is a great admirer from John Palmer, and he showed me the books from Palmer. They were and are out of print for a few years now, so I tried to get those books true the internet, and after yes….. 19 months I have them both!
The one on the left was a small fortune, thanks to my bank, that not informed me about the costs of 19 € for alone a money transfer, never the less I am still happy with my 52 € book! The right one I just paid 15 euros! So that equals the money!
john palmers
John Palmer has a unique style, just like Alvaro Castagnet a very own style has.

But we can learn a lot from looking and observing alone!
The book is wonderful, never I saw in a book so many good hints and tips to make your watercolours better, and you can apply those tips into your own painting style.
I found a small watercolour from John Palmer, were he has painted The Pulteney bridge in Bath, A very complicated scene, with lots of reflections, windows and details.
bath-bridge-1
How did Palmer handled this difficult bridge?
John-Palmer-Pulteney-Bridge
He used just a few colours, a warm yellow, most likely Raw Sienna, and after drying probably a transparent wash from Cobalt Blue over the sky, and not the building, so it stands out against the sky. The edges he didn’t painted much detail in there, just gave us a hint that there is something, but he didn’t want us to look there! The darker colours and the blue tops he painted with Alizarin. A cool red and some Cobalt Blue. The most details are in the neighbourhood of the tower. So that is the part he want you to look! I don’t know if there were reflections on the day that John Palmer painted this scene, but if there were these reflections, they are much to busy for a painting.
So he just added some vertical strokes and some colours he already used to make a unity in this painting!
So the colours are probably these three pigments.
Red = Alizarin Crimson
Yellow = Raw Sienna
Blue = Cobalt Blue
Or something like these colours

Less is More
John Proves it!

Edo

The picture from the books is from Peter Ward
http://watercolourfanatic.blogspot.nl/2011/12/john-palmer.html

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