The next session of this course will be on Tuesday nights starting February 11, 2014 at UC Berkeley Extension's San Francisco Design Center, for more information, email glennhirsch@earthlink.net or visit http://www.glennhirsch.com/id9.html

1. Watercolor
A course taught by Glenn Hirsch

2. Watercolor and
be precise and
realistic, or
loose and
expressive
Andrew Wyeth

3. LANDSCAPE

4. Kevin Dame, student

5. J.M.W. Turner, 1840

6. John Singer
Sargent, 1900

7. Student study of Winslow Homer

8. Robert Bechtel, watercolor, 1985

9. Robert Bechtel, watercolor, 1985

11. Edward Hopper, watercolor 1920

12. Winslow Homer, watercolor, 1903

13. Raoul Dufy, watercolor, 1920

14. Gustav Moreau, watercolor, 1885

15. STILL LIFE

16. Emile Nolde, 1920

18. Joseph Raphael, 1980

19. Charles Demuth, 1920

20. Mary Snowden, watercolor, 1980

21. artists in art history
using watercolor

22. Eugene
Delacroix,
1835
Watercolor
study for an
oil painting

23. Claude Lorraine, ink study, 1630

24. Field study,
watercolor, 1850

25. Van Gogh

26. Berthe
Morisot,
watercolor
study, 1885

27. Claes
Oldenberg,
watercolor
study for a
monumental
sculpture

28. FIGURE AND PORTRAITS

29. Andrew Wyeth, watercolor

30. Andrew Wyeth, watercolor

31. Emile Nolde, watercolor 1930

32. Emile Nolde, watercolor 1930

33. Elizabeth Peyton, watercolor, 1995

34. Louise Stanley, watercolor 1996

35. John Singer Sargent, watercolor, 1910

36. Oskar Kokoschka, watercolor, 1930

37. Raoul Dufy, watercolor, 1910

38. Georgia O’Keeffe, watercolor, 1920

39. Watercolor and be precise and realistic, or loose and
expressive
examples of
ABSTRACTION

40. Helen Frankenthaler

41. Mark Rothko

43. Fred Martin

44. Fred Martin

45. Fred Martin

46. Color theory to enhance the illusion
of “light”

47. What’s the ‘true
color’ of the
house?
It depends on the
time of day and
the weather
The ‘real’ color
doesn’t exist
independently
of the light

48. Claude Monet painted ‘white marble’ on the Rouen Cathedral in different
times of day, showing that color doesn’t exist independently of the light

49. Since color is “relative,” we use warm and cool versions of each color to
enhance the feeling of “light”

50. Chromatic scale to
enhance the
illusion of “light”
Lighter b/w value in the light
Brighter intensity in the light
Warmer (orangey) red in the
light (vs bluer purplish) in
the shadow

51. Watercolor
Technique

52. Work from light to dark, reserving the white paper
where you want white color
Allow each step to dry before proceeding to the next

53. Work from light to dark,
reserving the white paper
where you want white color
Allow each step to dry
before proceeding to the
next

54. Work from light to dark, reserving the white paper where you want white color

55. Work from light to dark, reserving the white paper
where you want white color
Allow each step to dry before proceeding to the next

56. Work from
light to dark,
reserving
the white
paper where
you want
white color
Allow each
step to dry
before
proceeding
to the next

58. You can also touch-up white areas with white acrylic
paint

59. Picasso, watercolor and gouache, 1910